Thesis (MTech (Design))--Cape Peninsula University of Technology, 2012. / Judging from the market growth of African-style designs, including beadwork, it is clear that beadwork continues to recur in contemporary fashion, both locally and internationally. This thesis addresses the role traditional South African beadwork plays in contemporary fashion, in an attempt to determine its impact on fashion trends over time. It explores the history of beadwork in South Africa: its development from the pre-colonial era, under colonial rule, and during apartheid. The beadwork of the Ndebele, Zulu and Xhosa are looked at specifically, since beadwork forms a vibrant part of their cultures. The research examines the history of South African beads, as far back as 75 000 years ago, when beads were first made, used and traded. This research is underpinned by the way in which beads contribute to a cultural identity in society. The research considers how South Africa's colonial and apartheid past inhibited the development of beadwork in South African fashion. This thesis describes the process and dynamics of traditional beadwork in contemporary fashion; the way in which beadwork has been infused into fashion; and the reasons for these trends. It also investigates the way in which African designs, patterns, colours and techniques began to playa role in negotiating fashion designers' identities during the African renaissance and at present. This is a qualitative study that through in-depth interviews, analyses the relationship and balance between beadwork and fashion trends. Lastly, the research indicates whether South African fashion consciously affirms beadwork and beading techniques in contemporary fashion design.

Questioning notions of authenticity through the dynamics of Zulu culture as expressed by Zulu beadwork in the cultural tourism industry, allows this study to evaluate the historical perspectives of Zulu culture. It further provides a genealogical perspective of Zulu beadwork, and explains the nature of Zulu beadwork within the tourism industry of KwaZulu-Natal. The literature of this dissertation specifically evaluates the historical foundations of Zulu cultural history and heritage and further gives an evaluation of the literature related to issues of authenticity and cultural tourism. This dissertation is framed in the theories of identity and culture; borrowing from cultural anthropology studies; tourism studies and cultural communication studies. The dynamics of cultural tourism, which are created in the relationship between the bead makers and their prospective consumers (the tourist), are also to be the focus of this study as this will work to facilitate unpacking the reasons which add to tourism destinations offering cultural experiences and as well focus on development strategies that are in place for developing cultural tourism for economic gain. This study will employ a qualitative research methodology, which is concerned with non-statistical information about the notions of authenticity in cultural tourism; used as a medium to Zulu beadwork symbolism, as viewed by Zulu bead makers and the cultural tourists based in the Durban South and North beach regions. The aim of this thesis is to evaluate the notions of authenticity as applied through the tourism process that occurs in the KwaZulu-Natal, Durban’s beach front; through the stall keeping that occurs in the area, where Zulu beadwork is one of the key items sold to the tourist. / M. Soc. Sc. University of KwaZulu-Natal, Durban 2014.

This portfolio consists of three research projects that predominantly lie within the socio-cultural strand. The first project is a qualitative ethnomathematical study that links students' knowledge of mathematics to their cultural heritage. The study was conducted with a group of final year student teachers at a College of Education in Umtata, Eastern Cape. These students visited a city museum where mathematics concepts were identified from beadwork artifacts. Mathematics concepts that were identified consisted of symmetry, tessellation and number patterns. Students' views about the nature of mathematics shifted radically after their own explorations. Initially students did not perceive mathematics as relating to socio-cultural practices. But now, they have reviewed their position and see mathematics as inextricably interwoven in everyday activities and as such, a product of all cultures. They also pride themselves of their own cultural heritage to have mathematical connections. A more positive attitude towards studying mathematics in this approach was noticed. Data was collected by means of interviews, reflective journal entries and photographs. The second project is a survey with a group of practising teachers who have already implemented Curriculum 2005, and a group which is about to implement it in 2001. The study sought teachers' understanding of connections between mathematics and socio-cultural issues. The new mathematics curriculum in South Africa calls for teachers to grapple well with these issues. About a third of the articulated specific outcomes specifically relate to socio-cultural issues. If teachers' understanding of these issues is poor, implementation of the new curriculum will remain a mere dream. The findings of the survey revealed that the majority of teachers could not identify the culture related specific outcomes in the new mathematics curriculum. Complicated language used in the OBE policy documents was found to inhibit meaning to these teachers. Although, all teachers showed a positive attitude towards the inclusion of socio-cultural issues in the mathematics classroom, the implementation of these outcomes was found to be very problematic. In this survey data was collected by means of questionnaires. The third project is a literature review on the need to popularise mathematics to students in particular, and to the broader public in general. The 21 st century places great technological demands. Mathematics underpins most thinking behind technological development. The role played by mathematics in advancing other fields is largely hidden to the majority of people. There is, therefore, a need to bring forth the vital role that mathematics plays in these fields. The number of students participating in mathematics is decreasing. Mathematics, as a field, is experiencing competition from other science fields. There is a need to bring some incentives to attract more students into this field and retain those mathematicians already involved. Also important, is the need to change the negative image that the public often holds about mathematics. Many people are mathematically illiterate and do not see mathematics as an everyday activity that relates to their needs. There is, therefore, a need to change the face of mathematics.

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2002. / Cloth bead sculptures are art objects made by female artists from cloth, beads, wood, wire and other materials that are stitched by hand. They are freestanding representations of the human figure, animals and inanimate objects and have traditionally been important ritual, as well as aesthetic, objects in Zulu communal life. The research for this dissertation was based on qualitative methods which brought together information from the women discussing their life and work. These discussions with individuals and groups looked at the women's own explanations of their work, including its traditional, ritual and communicative functions in rural Kwa Zulu Natal. They also discussed their experiences in selling their artwork in relation to the past discriminatory practices of apartheid South Africa, which was the context for their lives. From the 1970s some rural women brought some of these figures to Durban for sale in the streets to supplement their meagre resources. Later the African Art Centre became the main retail outlet for selling African Art and Craft and white people associated with it became the 'official' spokespersons and interpreters of such their art work. This had the consequence of depriving the rural women artists of their own voice. They were thus not able to give their own interpretation and explanation of their work. Interpretation of these sculptures in the dissertation has taken into account the traditional communicative role of bead figures and the symbolic function of colours, patterns and textures created by the beads and other materials. Cloth bead figures brought in for sale to local and international buyers always represented more than simple decorated figures to the artists themselves. Indeed these bead figures, like other works of art produced by black South Africans, became a vehicle for the / M

Text in English / This study is a reflection on the culture and social life of Nguni women. The research is the interpretation and representation of how the Nguni culture and social values emerge as source of identity not a simple act of conformity. The manifestation of cultural values is presented through a body of artworks. The artworks seek to expose the complex nature of deep social bonds. These bonds are responsible for the creation of the ultimate value of aesthetic experience within a social and ethical context. The analysis addresses the significance and symbolic nature of traditional wedding rituals in relation to conformity and social identity. Various concepts and themes are discussed to ascertain how participating in these social and cultural performances helps individuals to pursue their own understanding and meaning of their experience within their lived environment. The main question this study addresses is how women make sense of their experience as mothers, wives, members of society and individuals. It is the study of cultural and social phenomena; their nature and meanings, and the focus is on the interpretation of the phenomena in terms of their individual experiences and how they relate lived experience to their identities. This is done by acknowledging the essence of meaningful nature of experiences that lead participating individuals into conformity and submission. Sculptural installation and performance are used to describe concepts in the production of visual presentation of this research. The visual installation in this research provides the symbolic meaning of nature of aesthetic experience which influences individual to connect with the society and thus creating impression of conformity. The reflection on cultural and social experience highlights the dilemma of containing conformity to an act of coercion while leaving the issue of human perception and understanding of value in relation to the experience of the body unattended. A phenomenological approach to this study has helped to address art installation as a stylistic phenomenon that is created and experienced visually in order to represents a relationship between artist and society. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Mathematics has become increasingly important, as it is a pre-requisite for careers like architecture, science, engineering and medicine. Therefore it becomes imperative for the learners to understand and love it. In other words a sound foundation of mathematical skills and knowledge in the early stages is required. Often we hear learners asking questions like "when and where are we going to use these symbols x and y in our lives? " These questions might indicate that learners cannot link mathematics with daily life occurrences or even their own background experiences. This study is an exploration through hands-on activities of mathematical concepts embedded in beadwork artifacts. Learners' background experiences on bead work artifacts are acknowledged and explored for mathematical understanding. It is a case study, consisting of 44 learners in Grade 9 in two schools in Grahamstown. An interpretive approach is used. In order for the learners to be able to explore beadwork artifacts, they visited the Albany Museum (AM) and Msithandane Women's Project (MWP) in the community. Learners gathered information from these two sources. Beadwork artifacts in this study were used as a mediation and integration tool between culture and mathematics. Beadwork artifacts are found in the learners' cultures serving different purposes. In this study the focus was on Xhosa bead work artifacts. The hands-on activities posed challenges to learners because of their different background experiences. Some were able to draw designs but were unable to thread what they designed, whereas others were able to thread beads but were unable to draw designs. In this study learners had to use both completed bead work artifacts and drawn up designs for the investigation of mathematical concepts. Learners were able to identify symmetries in dress and in South African flag designs. Number patterns discovered were linked to their prior number pattern knowledge. The economic value of beadwork artifacts linked mathematics to the economics learning area. This study ties up with the new curriculum (C2005) and RNCS, which advocate the inclusion and integration of learning areas. In this instance, art and culture were used in mathematical activities. The study also encouraged the inclusion of participants' cultural background as a starting point for motivating them towards utilizing mathematical resources existing in their real life situations. The purpose was to make them aware that mathematics is found everywhere around us.

Text in English / This study is a reflection on the culture and social life of Nguni women. The research is the interpretation and representation of how the Nguni culture and social values emerge as source of identity not a simple act of conformity. The manifestation of cultural values is presented through a body of artworks. The artworks seek to expose the complex nature of deep social bonds. These bonds are responsible for the creation of the ultimate value of aesthetic experience within a social and ethical context. The analysis addresses the significance and symbolic nature of traditional wedding rituals in relation to conformity and social identity. Various concepts and themes are discussed to ascertain how participating in these social and cultural performances helps individuals to pursue their own understanding and meaning of their experience within their lived environment. The main question this study addresses is how women make sense of their experience as mothers, wives, members of society and individuals. It is the study of cultural and social phenomena; their nature and meanings, and the focus is on the interpretation of the phenomena in terms of their individual experiences and how they relate lived experience to their identities. This is done by acknowledging the essence of meaningful nature of experiences that lead participating individuals into conformity and submission. Sculptural installation and performance are used to describe concepts in the production of visual presentation of this research. The visual installation in this research provides the symbolic meaning of nature of aesthetic experience which influences individual to connect with the society and thus creating impression of conformity. The reflection on cultural and social experience highlights the dilemma of containing conformity to an act of coercion while leaving the issue of human perception and understanding of value in relation to the experience of the body unattended. A phenomenological approach to this study has helped to address art installation as a stylistic phenomenon that is created and experienced visually in order to represents a relationship between artist and society. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)