The name James Cameron is not a familiar one. Despite being one of the missionary pioneers of Methodism in southern Africa, serving for more than forty-six years in various districts and being elected as chairman of two of these districts, very few people have ever heard of James Cameron. Barnabas Shaw says of Cameron that he "excelled in preaching the great truths of the gospel, and applying them to the heart of sinners".¹ Whiteside describes Cameron as a "remarkable man ... well read in most things".² W.B. Boyce pays Cameron an even greater tribute: In my day, as a preacher and as a theologian, he was unequalled in South Africa; and I do not think that he was second in these respects to any of his brethren in England.³ Notwithstanding the high esteem in which he was held by prominent peers, Cameron is mentioned only in passing in a few secondary sources, and to date has not been the subject of academic research. The reason for this is not clear. He was well educated, read and wrote extensively, and most of his correspondence has been preserved. Cameron's Journal is very well written, containing some beautiful poetic sections. It is a personal record of a missionary coping with peculiar and difficult circumstances, and a record of how determination, courage and faith enabled Cameron to overcome seemingly insurmountable difficulties. Cameron's recording of his struggles help fill out our understanding of missionaries and their tasks and problems in the nineteenth century. I believe that so important a figure in South African Methodism should be examined and deserves a definitive study. The aim of this thesis has been to provide a reference to his work in the western Cape, possibly to form a basis for closer historical scrutiny. ¹ Shaw 1840:232 ² Whiteside 1906:374 ³ Boyce 1874:179-80.

In the year 1877, during a lull in the Eastern Question, the English newspapers discovered South Africa. There a Dutch republic, the Transvaal, had all but succumbed to the onslaughts of a native chief - or so it seemed; and now it was annexed to the British Crown. Clearly, this was a corner of the world of which, as its colonists boasted, England would hear much more; and Parliament was shortly to set its seal of approval upon Lord Carnarvon’s essay in imperial architecture, South African Confederation. Intro., p. 1.

This thesis is a qualitative, historical study of The Good Shepherd School in Huntly Street, Grahamstown, South Africa. It is one of the oldest school buildings in South Africa that remains in use as a school. There are two main threads to understanding The Good Shepherd School in context. The first of these threads, the colonial root of the school, is explained in a discussion of the Grammar School, attached to the Cathedral of St. Michael and St. George, that utilised the Huntly Street facilities from 1851 to 1902. The second thread is the strong tradition of caring for the underprivileged. This is traced through following the development of the educational works of The Community of the Resurrection which involves the discussion of various schools at different locations in Grahamstown. The current school on the Huntly Street premises, The Good Shepherd School, forms, however, the focus of this study, which draws on all the histories of its forerunners and their historical locations. Historical social science methods and procedures were used in the research. This was done through documentary analysis of evidence as well as through semi-structured interviews, creating an interpretative account of how the school has affected people's lives. The conclusion reached is that The Good Shepherd School has contributed greatly to the education of underprivileged people in the Grahamstown area. It appears to be an outstanding example of a school offering a well-rounded, caring education when this was historically denied to many people in South Africa.

The thesis attempts to provide a chronological analysis of Lagden's colonial career between 1877 and 1907. The youngest son of a parish priest, Lagden received limited formal education and no military training. By a fortuitous set of circumstances, he was able, as a man on the spot, to attain high ranking posts in colonial administration. As a young man, he acquired considerable experience in the Transvaal, Egypt and the Gold Coast. However, blatant disobedience led to his dismissal from Colonial service. Fortunately for Lagden, Marshal Clarke, newly appointed Resident Commissioner of Basutoland, insisted on Lagden being appointed to his staff. Except for a brief stint in Swaziland, Lagden remained in Basutoland until 1900. With Clarke, Lagden played a prominent role in the implementation of the Imperial policy of securing the support of the Koena chiefs by allowing them to retain and consolidate their power and influence. Lagden became Resident Commissioner in Basutoland when Clarke was transferred to Zululand. He continued established policies and championed the Basotho cause by opposing the opening of Basutoland to prospectors and by stressing the industrious habits of the Basotho. His tactful and energetic handling of the rinderpest crisis reduced dramatic repercussions amongst the Basotho and enabled cooperative Koena chiefs to increase their economic and political leverage. Despite his reservations over Basotho loyalty, Lagden emerged from the South African War with an enhanced reputation as the Basotho remained loyal and energetically participated in the Imperial war effort. Largely because of his Basutoland experience, Lagden was appointed the Transvaal Commissioner of Native Affairs in 1901. He was responsible for regulating African labour supplies for the mines and delineation of African locations. His failure to procure sufficient labour and his defence of African rights earned Lagden much abusive settler condemnation. As chairman of the South African Native Affairs Commission, Lagden produced an uninspiring report conditioned by the labour shortage and his personal distaste for decisive action. Nevertheless, its advocacy of political and territorial segregation influenced successive Union governments.

On entering the Rhodes University Institute of Social and Economic Research (ISER) at 6 Prince Alfred Street, visitors are confronted by a glass cabinet in which is displayed the four volumes of the Keiskammahoek Rural Survey (1947-1952); six of the volumes which emanated from the Border Regional Survey (1956-1964) of which three are the Xhosa in Town trilogy, and a modest paperback From Reserve To Region (1997), which records the changes which took place in Keiskammahoek between the birth of apartheid in 1948 and its demise in 1994. Together these may be seen as the charter documents of the ISER - rooted in empirical research in the Eastern Cape, multidisciplinary, substantial works of scholarship and, in the case of The Xhosa in Town trilogy, at least, of international repute.

This dissertation focuses on the animated, charcoal, hand-drawn films of William Kentridge‟s Drawings for Projection series (1989—2003). At the beginning of this study, Kentridge‟s films are positioned as a dialectic of self and memory as embodied in a post-colonial South African setting. The series itself was selected as being representative of his artistic oeuvre. They are a closed-ended narrative, using a ground-breaking animation technique, created by the artist himself (Christov-Bakargiev 1998; Godby 1982). They were made by Kentridge during a specific South African cultural and historical period: beginning with Johannesburg, 2nd Greatest City after Paris, made in 1989 at the height of apartheid; through to Tide Table, made in 2003 at the beginning of post post-apartheid South Africa. The hypothesis presented is that Kentridge‟s films have memory as their main theme. Memory itself takes different forms, and the discourse of memory deals with, for instance: memorialisation; repressed memories; traumatic memories; the unconscious and memories; and “postmemory”. How he depicts memories of his own and those of others is at the centre of this research. Using qualitative research methodology, with contextualisation (socio-historical and cultural) and comparative studies (apartheid and the Holocaust; different artistic representations of memory, for example Pascal Croci and William Kentridge; and Anselm Kiefer and William Kentridge) being part of the research design, this thesis has sought to substantiate this hypothesis. Further substantiation and clarification has been expounded by referencing seminal works in the field, such as those of Sigmund Freud (1899: “screen memories”; 1917: trauerarbeit); Roland Barthes (1981: the punctum / spacio-temporal continuum); Pierre Nora (1989: “lieux de mémoiré” / “sites of memory”); Henri Raczymow (1994: “memoire trouée” / “memory shot through with holes”); Richard Terdiman (1993: poesis); Marianne Hirsch (1997: “postmemory”); and Hayden White (1996: historical metafiction); among others. There have already been numerous references to how William Kentridge has depicted the ephemeral nature of memory / memories (Boris 2001; Cameron, Christov-Bakargiev and Coetzee, 1999; Christov-Bakargiev 1998; Sitas 2001). However an in-depth, hermeneutic, comparative analysis has not yet been undertaken. This study is therefore significant in that it explicates William Kentridge‟s works, making the following contributions: to the scholarship on Kentridge‟s work; to a South African perspective to the growing field of trauma studies; and to the apartheid and post-apartheid reflections on re-remembering and forgetting, memorialisation, forgiveness and guilt. Through socio-cultural and historical comparisons as well as artistic contrasts, the films themselves are acknowledged as an important source of reference of South African society. They are a documentation of life lived during apartheid and post-apartheid South Africa. / Department of Communication Science / D.Litt. et Phil.

The investigation contributes to a broader understanding of the hegemonic role of teacher organisations and their relation to the dominant structures in society. It also contributes to educational theory since it extends the traditional assertion of an individual teacher who acts as an agent of capitalism and who serves to foster the interests of the State, to teachers who operate through an organisation which becomes more powerful in articulating this hegemony. The historic evidence shows that for much of the period under investigation these teacher organisations have either endorsed, or else have failed to challenge in significant ways, the use of education by the State to ramify the ideology and practice of apartheid. In addition these organisations have had no power to compel action from political and educational authorities. Decades of compliance with State policy, or unwillingness to forcefully articulate the obvious injustices of that policy, have inevitably led to a position whereby established teacher bodies became inward looking. Ultimately, these teacher bodies could not offer a fundamental critique of the apartheid education system and therefore could not empower their members to transform society as they worked within a structural-functional and liberal framework. However, the research also shows that teachers as a collective group became capable of resisting dominant ideologies, especially during the post-1984 period. Progressive teacher organisations, fuelled by the labour movement and African nationalism convicted many conservative teacher bodies to eschew ethnicity and agitate for a unified, democratic non-racial, non-sexist State with a single Ministry of Education. This period saw an escalation in the struggles of resistance by teacher organisations against a newly established Tri-cameral parliamentary system. These empowered members effectively resisted the increasing bureaucratisation and political interference in education through which the State sought to control teachers. The study offers a new way of perceiving teacher organisations as they become involved in long term struggles of transformation which incorporates the reconstruction of a post-apartheid society. / Educational Studies / D. Ed. (History of Education)

Educational Studies / D.Ed. (History of Education)

This dissertation examines the growth and development of an urban African population in Pretoria from 1902 to 1923. African urbanisation in Pretoria took place within the context of limited industrial development and gave rise to a distinc!ive population, with an important permanently settled component. This study charts the struggles that ensued between the Town Council and the African population. The responses of the urban African population took on two forms: informal, defensive strategies and formal political organisation. In the early twentieth century Pretoria formed the locus of regional African political activity. However, the attempts of formal organisations to challenge the state were essentially conservative. It was rather in the realm of working class culture that real challenges were made to the municipal authorities' vision of an ordered urban environment and a controlled African proletariat. / History / M.A. (History)

Text in Afrikaans / Die ontwikkeling van 'n eiesoortige Suid-Afrikaanse instrumentale kamennusiekidioom deur die stelselmatige assimilasie van inheemse musikale elemente uit Afrika-musiek in die oorspionklike Europese georienteerde kamermusiekgenre, het gelei tot die navorsing oor die historiese ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek. 'n Oorsigtelike evaluasie van geselekteerde kamermusiekkomposisies word ingesluit. Bydraes deur besoekende-, immigrante of Suid-Afrikaanse komponiste moet aan die volgende kriteria voldoen, voordat die komposisies as verwysings kan kwalifiseer: (a) Die komposisies moet hoofsaaklik op Suid-Afrikaanse bodem gekomponeer wees. (b) Instrumentale kamernusiekkomposisies moet volledig en voltooid wees. ( c) Bogenoemde werke moet vir drie tot nege instrumentaliste geskryf wees. Die omruiling of afwisseling van instrumente deur die uitvoerende kunstenaars is in aanmerking geneem. Instrumentale kamermusiekkomposisies wat tydens hul studieperiode in die buiteland deur Suid-Afrikaanse komponiste gekomponeer is, is vanwee die selfverrykende proses en die voordeel wat Suid-Afrikaanse kamermusiek uit wedersydse kultuurwisseling getrek het, ingesluit. 'n Uitgebreide Suid-Afrikaanse instrumentale kamermusiekrepertorium van 512 komposisies vanaf 1890 tot 1990, sluit 365 gedateerde werke in. Die geredelike beskikbaarheid van kamermusiekinstrumente, musiekonderrigfasiliteite, asook die blootstelling aan plaaslike en internasionale instrumentale kamermusiekuitvoerings tydens konserte, huiskonserte of soirees in die voorbereidende fase (1652-1910), het 'n bevorderlike milieu vir die ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek geskep. Eksteme beinvloeding deur ekonomiese, sosiologiese, militere, godsdienstige en politieke aktiwiteite het 'n beslissende rol in die ontwikkelingstempo van die SUid-Afrikaanse instrumentale kamermusiek gespeel. Evaluering van geselekteerde instrumentale kamermusiekkomposisies van 1890 tot 1990, word in 'n historiese konteks bespreek. Die ontplooiing van 'n egte Suid-Afrikaanse instrumentale kamermusiekidioom is op enkele parameters gabaseer: (a) Tematiese metamorfose (b) Tematiese frasestruktuur (c) Enkele kompositoriese tegnieke, exerpli gratia imitasie of direkte herhaling. Die bevordering van die Suid-Afrikaanse instrumentale kamennusiek word tot die bydrae van belangrike instansies en enkele musiekverenigings beperk. In Volume 2 word die verblyftydperk van besoekende komponiste asook die immigrasie- of emigrasiedatums van komponiste aangerlui. Met die insluiting van 512 instrumentale kamermusiekkomposisies deur 139 amateur en professionele Suid-Afrikaanse of besoekende komponiste, is daar gepoog om belangrike biografiese besonderhede asook enkele bydrae deur die betrokke komponis tot die uitbreiding van Suid-Afrikaanse instrumentale kamermusiek, in te sluit. Die chronologiese ordening van komposisies reflekteer die intense uitbreiding gedurende 1988 van die Suid-Afrikaanse instrumentale kamemusiekrepertorium. Addisionele inligting word in die bylae verstrek / An indigenous South African instrumental chamber music idiom development through assimilation of indigenous musical elements in the original Eurocentric orientated chamber nusic genre, by the cosmopolitan structure of South African composers led to research of historical development of South African instrumental chamber music. A synoptic evaluation of selected chamber music conpositions is included. Contributions from visiting, immigrating or South African composers had to comply with certain referential criteria: (a) Compositions must be composed mainly on South African soil. (b)Instrumental chamber music compositions must be complete and finished (c)Compositions must be composed for three to nine instrumentalists Changing or alternating of instruments by perfonning artists considered. Instrumental chamber music compositions created abroad by composers on Sabbatical are included due to the self-effacement afforded and advantages gained through mutual cultural interchange. The elaborate South African instrumental chamber music repertoire of 512 compositions from 1890 to 1990, includes 365 dated works. The availability of instruments, tuition facilities and exposure to national and inteniational perfornances through public concerts, private concerts or soirees, during the preparatory phase (1652-1910) created a favourable milieu for the developnent of chamber music. External influences such as economical, sociological, military, religious and political activities, played a determining role in the developmental tempo of South African instrumental chamber music. :Evaluation of selected instrumental chamber music compositions from 1890 to 1990 are discussed in an historical cont.ext. The evolution of an authentic South African instrumental chamber music idiom is based ona few parameters: (a)Thematic metamorphosis (b) Thematic phrase structure. (c) Certain composition techniques exempli gratia imitation or direct repetition. The promotion of South African instrumental chamber music is limited to the contributions of important organizations and music societies. In Volume 2 the period of sojourn of visiting composers as well as the inmigration and emigation dates of composers are indicated. With the enclosure of 512 compositions by 139 amateur or professional South African or visiting composers, it has been endeavoured to incorporate impotrant biographical details as well as some contributions of relevant composers. 'A chronological list of compositions reflects the extensive expansion of t.he South African instrumental chamber music repertoire during 1988. Additional information is supplied in the appendix / Art History, Visual Arts and Musicology / D.Mus. (Musiekwetenskap)