The purpose of the research was to develop a translucent low fired porcelain casting slip using South African raw materials, due to the ever increasing electricity tariffs in South Africa as well as the physical deterioration put on the elements and brickwork in electric kilns when fired to traditional porcelain temperatures. Traditional porcelain bodies that can be purchased from South African suppliers are required to be fired to between 12000C and 13000C. The commercially prepared porcelains when tested produced white vitrified bodies but were lacking in translucency. Local ceramic artists are therefore compelled to import their porcelains from overseas suppliers if they require a white translucent porcelain but this is still requires a firing temperature well above 12000C. It has been shown that by using South African ceramic raw materials and adjusting a Parian ceramic formula using a selected frit; a low fired translucent porcelain can be made that matures below 12000C. The addition of paper fibres to the non-plastic porcelain was necessary to reduce the high shrinkage rate and prevented the clay from cracking and tearing in the firing process. With the further adjustments to the formula by the addition of calcium triphosphate true white translucent porcelain was produced. Without this last adjustment the porcelain would be an off-white colour due to the impurities found in the South African ceramic raw materials which are mainly contaminated with iron oxide. It was found that the following formula produced a white translucent porcelain which vitrified at 11900C and satisfies the original concept in the title stated above.

The East Cape Opera Company was founded by Gwyneth Lloyd in 1995 and has performed in various Eastern Cape venues and festivals as well as conducting a tour of the Netherlands. The Company has performed well known operas and operettas such as Mozart's The Magic Flute, Gilbert and Sullivan's The Mikado as well as their own original isiXhosa operas such as Temba and Seliba, The Moon Prince - Inkosana Yenyanga and The Clay Flute. This thesis is situated within the context of apartheid and post-apartheid, and an emerging post-1994 South African’s operatic culture that embraces multiculturalism. The aim of this research is to explore and raise awareness regarding intercultural communication in relation to isiXhosa operas and examine the linguistic and dramatic characteristics of the construction of these operas. This involves an analysis of the integration of African cultural practices (dramatic and musical) within an essentially western art form. The thesis makes use of intercultural and literary theory as a point of departure to analyse not only the literary qualities of the isiXhosa operas performed by the East Cape Opera Company, but it also seeks to show how these operas reflect an emerging intercultural reality within the South African context. The thesis explores the mixing of genres, including African genres such as the folktale and oral poetry as part of Opera, which has previously been seen as a Western domain. It is argued that this mixing of genres and languages allows for the success of African Opera