The Johannesburg Art Foundation (JAF), founded in 1982 by Bill Ainslie, maintained a teaching philosophy which opposed any form of discrimination and stressed that art education should be a possibility for everyone. There was no prescribed curriculum and the programme was not dependent on an external educational authority. I argue that particularly in the decade 1982-1992, the South African apartheid government's educational policy towards cultural activities was prescriptive, stifling and potentially paralysing for many artists. Nevertheless, the teaching at the JAF sustained a flexibility and tolerance of ideas combined with an emancipatory ambition that promoted exchange. The philosophy was infused with a social justice and a political activism agenda squarely in opposition to the separatist apartheid education laws. This study contextualizes the impact and efficacy of the teaching approach at the JAF in terms of its intellectual, social and political perspectives during the years 1982-1992. This teaching approach prompted acerbic encounters within the competing systems of formal and informal institutions. It is this controversial anomaly signifying elements of collision in the pursuit of developing modernism that are investigated to some extent. Personal involvement as an artist and teacher, during the period 1982-1992, allowed my contribution and participation in the development of the teaching philosophy. The paucity of available literature on the subject has stimulated a comprehensive preliminary investigation of the way in which the JAF cultivated alternative educational policies. The individual methodologies and personal experiences extracted from interviews with artists, Council Members and members of staff are documented in order to provide a detailed characterisation of the values of the JAF. In addition, original documentation representative of the genealogy of the JAF forms part of the curatorial practice for the exhibition Controversial ways of seeing at the Bag Factory Gallery. The JAF declined from 1992 and finally ceased to exist in 2001.

Abstract The aim of this research paper is to investigate the allegorical and national qualities present within South African post-apartheid cinema. Through the production of a satirical short film, an analysis of key texts by Frederic Jameson and Aijaz Ahmad, as well as a comparative breakdown of French and Australian national cinema, these topics will be explored and unpacked. The South African film environment establishes itself as one dominated by internationally produced films and one that utilises indigenous cultural aspects in order to compete against this dominance. This study identifies the specific techniques employed by South African filmmakers and highlights the successes and pitfalls of doing so. By examining the film careers of Darrell Roodt and producer Anant Singh, this paper identifies South African cinema as one with a focus on international goals, aspirations and audiences, while it neglects its own local audience and development. This research then proposes ways in which to resolve this problem by drawing on examples from other national cinemas.

The post apartheid South African government inherited a racially designed social protection system. This system was discriminatory, mainly served the white population and excluded the majority of black South Africans. Recognising this discrepancy, the ANC government embarked on the transformation of the existing social welfare programs which aimed at ensuring that basic welfare rights are provided to all citizens, priotising those who had historically been disadvantaged. Many years have passed since the democratic government came to power and started to carry out reforms that were aimed at increasing coverage of both occupational and social pensions. While great slides have been made in extending coverage of social pensions, ironically, only slightly more than half (52%) of South Africa’s 12.6 million workers are covered. This study aimed at investigating the extent to which trade unions have been able to influence policy formulation related to social protection, especially those aimed at increasing coverage of social and occupational pensions. The study focused on the roles played by CONSAWU and COSATU and it used in-depth interviews as the main tool for collecting data. Interviewees were identified using purposive sampling from both trade unions and government departments that closely deal with social protection issues. The study has revealed that trade unions’ influence in policy formulation for social protection has not been effective enough. This could be attributed in part to the paternalistic approach by government departments towards labour in policy issues and inadequate vigilance from trade unions to claim their rightful position.

Made available in DSpace on 2016-04-27T19:30:51Z (GMT). No. of bitstreams: 1 Danilo Ferreira da Fonseca.pdf: 2111466 bytes, checksum: 3c0b50aa8d4479c1e69617d3700d3ed6 (MD5) Previous issue date: 2013-10-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis is mainly focused on the historical processes of South African apartheid and the Rwandan genocide of 1994, looking how occurred interactions, in the development of these, between different "ethnic racial" groups and social classes. Thus, in the case of South Africa, the thesis focuses on the years between 1948 (the beginning of the apartheid regime) and 1994 (end of apartheid and the election of Nelson Mandela), while in the Rwandan case the thesis focuses among years 1959 and 1994 (between independence and genocide in Rwanda in 1994). In order to understand the logic of specific social practices such territoriality, the thesis also rescues the pre-colonial and colonial period, valuing local traditions of many societies that permeate South Africa and Rwanda, giving support to understand how has built the preparation of their own local historical agents of a violent insertion of foreign capitalist mode of production. From these interactions between social practices and traditional practices tied to a capitalist society, the thesis structure the interaction between the "ethnic racial" and social classes that are formed and at the same time, help to form these societies that transform radically in a short time / A presente tese tem como principal foco o desenvolvimento do apartheid Sul-Africano e o genocídio ruandês de 1994, buscando como que desses processos históricos ocorreram as interações entre diferentes grupos étnico-raciais e classes sociais. Dessa maneira, no caso sul-africano, a tese se concentra entre os anos de 1948 (início do regime do apartheid) e 1994 (fim do apartheid e eleição de Nelson Mandela), enquanto que no caso ruandês a tese foca-se entre os anos de 1959 e 1994 (entre a independência de Ruanda e o genocídio). Com o intuito de entender a lógica específica das práticas sociais de tais territorialidades, a tese também resgata os períodos pré-coloniais e coloniais, valorizando as tradições locais das múltiplas sociedades que permeiam a África do Sul e Ruanda, nos dando suporte para entendermos como se construiu a elaboração dos próprios agentes históricos locais de uma violenta inserção estrangeira do modo de produção capitalista. A partir destas interações entre práticas sociais tradicionais e práticas atreladas a uma sociedade capitalistas, a tese estrutura a própria interação entre os grupos étnico-raciais e as classes sociais que são formados e, ao mesmo tempo, ajudam a formar estas sociedades que se transformam radicalmente num curto espaço de tempo

Philosophiae Doctor - PhD / The argument of this dissertation calls for an abiding by missing-ness as it relates to apartheid-era disappearances. I am concerned with the ways in which the category missing is articulated in histories of apartheid-era disappearances through histories seeking to account for apartheid and how that category is enabled and /or constrained through mediating practices, processes and discourses such as that of forensics and history itself. My deployment of a notion of missing-ness therefore is put to work in underscoring notions of history and its relation to a category of missing persons in South Africa as they emerge and are figured through various discursive strategies constituted by and through apartheid’s violence and iterations thereof. I focus specifically on the enforced disappearances of Siphiwo Mthimkulu, Tobekile ‘Topsy’ Madaka and Sizwe Kondile and the vicarious ways in which they have been produced and (re)figured in a postapartheid present. Mthimkulu and Madaka were abducted, tortured, interrogated, killed and their bodies disposed through burning by apartheid’s security police in 1982. In 2007 South Africa’s Missing Persons Task Team exhumed commingled burnt human fragments at a farm, Post Chalmers. After two years of forensic examinations, those remains were identified as most likely those of Mthimkulu and Madaka. Their commingled remains were reburied in 2009 during an official government sanctioned Provincial re-burial. Kondile was similarly abducted in 1981 and after being imprisoned, tortured, interrogated and killed, his physical remains were burnt. The MPTT has been unsuccessful in locating and thus exhuming his remains for re-burial. Sizwe Kondile remains missing. Missing-ness as I evoke it serves to signal the lack and excess as potentiality and instability of histories accounting for the condition and symptom of being missing. The productivity of deploying missing-ness and an abidance to it in the ways I argue is precisely in not explicitly naming it, but rather by holding onto its elusiveness by marking the contours of discourses on absence-presence, those which it simultaneously touches upon and is constitutive of. Articulating it thus is to affirm missing-ness as a question that I argue, be put to work and abided by.

Philosophiae Doctor - PhD / In this thesis I investigate the reconstruction of the life history of Sandra Laing and the recreation of the apartheid context by analyzing two artefacts. These main artefact for investigation is the movie Skin, by Anthony Fabian which is based on the book "When She Was White: A Family Divided By Race" by Judith Stone, which is the second artefact for investigation. The latter artefact is based on the life of Sandra Laing. Sandra Laing was born to white parents in the apartheid era, but she did not ascribe to the physical description of a person who was classified 'white' in accordance with legal and social framing thereof in apartheid South Africa. This posed many legal, social and political difficulties for her family. I was particularly interested in the composition of information sources and how semiotic resources are re-enacted, reused and repurposed in the movie ‘Skin.’ The study is more theoretical than applied in that it seeks to answer the question posed by Prior and Grusin (2010: 1): "How do we understand semiotics/multimodality theoretically and investigate it methodologically?" In the study I develop Prior and Grusin’s (2010) thesis by working with notion of semiotic remediation as a focus on semioticity helps me to focus on the signs across modes, media, channels and genres. Therefore, the book on Sandra Laing and the movie are used as databases from which to extract semiotic resources in the exploration and extension of multimodality theory through multisemiotic analysis using semiotic remediation as 'repurposing' in particular. In the process, the notion of semiotic remediation becomes the tool for extending theory of multimodality, by demonstrating the repurposing of semiotic material from the book, such as apartheid artefacts, racialised discourses, dressing, racialised bodies and bible verses, for example, into the recreation of apartheid in the movie 'Skin.' I employed a multisemiotic discourse analysis to analyse the data, which is multimodal, and because I was interested in the complexity of the meaning making process involving multiple modes of representation. This framework was useful in analyzing the complex interaction between the various modes for meaning making. I used resemiotisation and remediation as conceptual tools to trace the translation of events across artefacts and how the material and generic traces are reframed and repurposed within its new contexts for new meanings in the movie 'Skin'. This study makes important contributions to research on the race debate in South Africa in particular. Although apartheid laws have been repealed and new democratic order is in place, the issue of race has flared in the media and South African society generally. The recurrent debates on lack of transformation in former whites only universities, the #FeeMustFall Movement and recent debates in parliament about revisiting the land redistribution issue all have racial undertones – the continued disempowerment of the non-white South Africans. The focus on the recapturing of the complexities surrounding the race debates and the implications of the racialised society, particularly how they are conceptualized and rematerialized within the semiotic limitations of book and a film contributes to a novel understanding of the making and lifestyles of inequality in apartheid South Africa. From a theoretical and analytical perspective, the study feeds on and extends the notion of multimodality to multisemioticity using the extension, semiotic remediation, not in the ordinary sense of mediating a new, but on the notion of the reframing and particularly repurposing of a particular social, political, cultural and historical semiotic material in new contexts in the recreated new worlds in the film and book. In this regard, the study provides interesting insights into the remediated reconstructions of race and racial inequalities, and the remodeling of artefacts and semiosis that are used in this reformation of the apartheid material cultures and contexts. In analysing the remaking of the apartheid culture in the film and the book, I theorefore make a unique contribution in identifying the semiotic materials that are indicative of the flawed nature of biological arguments for racial classification and race-based social structuring. I discuss the implications of this by analysing the remediation of the body as a racial scape, and the apartheid material culture as providing the semiotic landscape on which meanings are produced and consumed. The study thus contributes to research on recent developments in multimodality through its extension of semiotic remediation, which is designed to uncover the intricate interaction between semiotic resources in various media as well as their translation and repurposing across artefacts. In this regard, the study adds to extending the theoretical framing of multimodality thus: resemiotization accounts for the circulations of texts from mode to mode or one context to another, while semiotic remediation accounts for the repurposing of semiotic resources for different purposes and for their multiple meaning potentials. / National Research Foundation

The Eoan Group, founded in 1933 in Cape Town, was South Africa's first and only all-coloured opera, dance and theatre company. Its 1956 production of La Traviata was the first opera produced by non-white people in South Africa, and initiated an operatic career that spanned twelve opera seasons and ten operas. The group was under the administration of white directors and received funding from the apartheid government. In return, they agreed to honour the regime's racial laws by performing for segregated audiences. Their acquiescence to segregation and their complicity in the promotion of apartheid ideology caused political problems: they were ostracised by their own community and boycotted by members of the white and coloured racial groupings. After the group's operatic activities came to a permanent halt in 1980, their history sank into obscurity, despite their importance in the establishment of an operatic culture in the country. The memorialisation of South Africa's cultural-political past continues to maintain a binary of complicity and resistance, with those who are remembered grouped neatly into either of these categories. These labels, however, do not map tidily onto the Eoan Group, with its bewildering narrative of self-empowerment-through-collusion. Consequently, their story presents a problem for the writing of South African music history. Drawing extensively on material from the Eoan Group Archive, this dissertation considers the socio-political ambiguities of the Eoan narrative from musicological and post-colonial theoretical angles, to show how the group's operatic activities disrupted the cultural and material determinism of apartheid's racialised ideology. It calls for a disavowal of the Manichean ethics by which subaltern agency is measured, and proposes instead a turn to Njabulo S. Ndebele's 'politics of the ordinary'. From the sonic and material residue of the Eoan Group's productions, this project forges a newly conceived decolonial writing of apartheid operatic history.

This study is based on in-depth, semi-structured interviews conducted with six former combatants residing in the Kathorus area, East of Gauteng. The main aim of this study was to explore the challenges facing former combatants after twelve years of democracy. The key findings in the study indicate that many former combatants have not defined their identities beyond the militarised masculine identity they identified with during the conflict on the East Rand and this has resulted in some negative social and psychological consequences for these former combatants. Challenges including stigmatisation from the communities in which they reside, unemployment, trauma, and betrayal also emerge from the findings. In conclusion, the many challenges that former combatants face twelve years into democracy highlight the faults and flaws in the demobilisation, disarmament and reintegration process that occurred post apartheid. Some key recommendations that can be made based from this study relate to processes of future demobilisation and social and economic reintegration.

Thesis (M.A. (English Studies)) --University of Limpopo, 2009 / This dissertation examines elements of protest in four of Zakes Mda’s novels, namely, Ways of Dying (1995a), She Plays with the Darkness (1995b), The Heart of Redness (2000), and The Madonna of Excelsior (2002). The elements of protest that are identified and investigated in this study are abuse, betrayal, discrimination, and violence. This study also shows that these elements of protest that are investigated are a result of a lack of integrity and social accountability on the part of government, the civil service, and individuals themselves. In addition, this dissertation reveals the extent to which social injustices negatively influence the thinking and behaviour of the general South African society and thwart the aspirations of ordinary people. Finally, suggestions to curb abuse, betrayal, and discrimination are made.

The reality of cities is that, no matter how designed, controlled, or planned they are, people will do as they like. They will find ways to live and move through them that suit their purposes, even if this means going against a ‘designed’ system. In the case of South Africa during apartheid, this movement was obstructed by institutionalised segregation and State oppression. Apartheid, which means ‘apart’ and ‘hood’ in Afrikaans, was an attempt to inscribe a power structure into the spatial framework of a territory, based on notions of capitalism, race, and hygiene. As a mechanism of social control, it relied heavily on concepts of space and power to achieve the white ideal of racial segregation. Although the spaces of apartheid may be seen as fixed and concrete, internal contradictions contested their authority. While apartheid legislated, controlled, and monitored the movement of all South Africans, the actions of many of its citizens created counter mechanisms which diminished its effect. Despite the official days of apartheid now being over, the question remains: how do people create and maintain public life in the face of an administrative system of control? The spaces created by the everyday actions of those living under apartheid - the stories, music, dance, and protests that were part of the country’s culture of subversion and resistance - were, for years, the site of public life in South Africa.