The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase. / Linguistics and Modern Languages

This Degree Project studies health promotion and strengths-based approaches in an Indigenous Australian context. The study focuses on an Indigenous Australian organisation called the Deadly Choices and their health-related promotion. The study is informed by postcolonial theory as well as cultural identity theory, and it was conducted through a textual analysis by analysing Deadly Choices’ Facebook posts and Twitter tweets both qualitatively and quantitatively. The study set out to determine what kind of features and what style language could contribute to the notion of a strengths-based approach and thus could empower Indigenous people to become change agents themselves.  The aim of the study was to understand if there are certain repetitive, identifiable features that construct the basis for a strengths-based approach and thus contribute to the matters of empowerment and decolonising health promotion in the context of Deadly Choices. In total 151 samples were analysed. I was able to conclude that Deadly Choices uses a strengths-based approach to an extent, but they tend to focus on only the resilience approach rather than the more prominent sociocultural approach.

The rise of postcolonial theories in the 1970s did not yield much influence in the then practice of humanities computing, but following the mass-scale digitisations of cultural heritage materials over the past thirty years questions of Indigenous agency and the colonial roots of the digital cultural record have become more urgent than ever. This thesis operates within the area of postcolonial digital humanities and seeks to explore three questions. The first regards the socioethical concerns associated with the digitisation of Indigenous cultural heritage materials originating in Oceania, a geographic region which is peripheral on digital humanities maps but at the same time paradigmatic for exploration due to its cultural, political and linguistic diversity and multiple histories of colonial plundering. The second question investigates the extent to which global cultural heritage institutions digitise collections originating in Oceania in a culturally responsive manner, whereas the third focuses on the actions that digitising institutions can take in order to improve their websites from a decolonising perspective. The analysis that has been conducted on relevant literature and digitisation websites has resulted in an outline of theoretical concerns that should be taken into consideration prior to digitisation, as well as an assessment of existing digitisation activities and recommendations for improvement.

Literature on the topic of ballet in South Africa is growing. However, there are still gaps as a result of the fragmentation of sources. This dissertation draws on primary and secondary sources to try to provide a coherent discussion of the history of ballet in South Africa from a fresh perspective. The research demonstrates that ballet has been in constant engagement with South African history and society since its arrival on African shores. Through secondary and primary literature, the research starts by engaging with South African balletic history by looking at an overview of ballet’s journey to South Africa and the establishment of balletic societies and institutions. Emphasis is placed on the more successful institutions based in Cape Town and Johannesburg. The history of these institutions, as traced within the research, demonstrates the responsiveness of the balletic community to the environment in which they were situated. South African choreographed ballets with Afrocentric themes are used to highlight the responsiveness that the ballet community has demonstrated towards the historical climate and structures within South African society during and after apartheid. Finally, ballet is explored in the post-apartheid context. Topics that are engaged with here include the removal of grand and petty apartheid policies, as well as the ideas behind the decolonisation of ballet as exemplified by the Cuban-South African exchange. / Dissertation (MSocSci)--University of Pretoria, 2019. / Historical and Heritage Studies / MSocSci / Unrestricted

No description available.

Sindhi Hindus comprise the world's most widespread South Asian diaspora. When the British divided their Indian empire in 1947, unlike Punjab, Bengal, and Assam, they did not partition Sind (today a part of Pakistan), despite the minority campaign for a partition of the region. Sind's partition in 1947 was a deterritorialised and demographic one, producing over a million 'non-Muslim' refugees who resettled in India and abroad. A frequently overlooked region in histories of South Asia, Sind is of profound importance to the history of the partition of India. In the decades preceding partition Sind formed the core of the demand for the creation of 'Muslim majority' provinces that later gave Pakistan its territorial basis. This thesis outlines a new history of partition from the pre-partition Sindhi movement for separation from the Bombay Presidency. It explores the hardening of communal identities in a province renowned for its blurred religious boundaries and the ambiguities of defining a 'Muslim majority' province in the run-up to the foundation of Pakistan. Partition histories emphasise the role of sudden and unexpected genocidal violence in creating refugees. The processes of nation-formation and establishing new political-legal sovereignties also shaped refugee flows. Sindhi Hindu migration at the time of partition is also located within their older histories of mobility and suggests a more complex picture of displacements at the time of partition. Largely unwelcome in India, Sindhi refugees exercised a considerable amount of initiative, in rehabilitating themselves and in challenging the state's slow response to their demands for rehabilitation. Using rarely studied legal archives, this thesis charts how, despite being a stateless minority, Sindhi refugees' legal campaigns shaped the Indian constitution and informed broader notions of Indian citizenship. Refugee initiatives to create a 'new' Sind and port in Kutch collided with the governmental agenda to secure the integration of the princely states and harness their economic resources to the Indian Union. By investigating the 'failures' of this attempt to re-establish 'Sind in India', this thesis provides unique insights into the fraught interaction between refugee resettlement and the birth of a new nation.

En 1954, lorsque Kateb Yacine publie Le Cadavre encerclé dans la revue Esprit, le metteur en scène Jean-Marie Serreau s’enthousiasme pour ce texte. Jean-Marie Serreau est alors un acteur très important de l’avant-garde théâtrale, qui mène une recherche esthétique et politique. Il est alors en train d’œuvrer à ce que la critique appellera plus tard le théâtre de la décolonisation. Le texte, publié dans une revue militante, mis en scène par un homme de théâtre engagé, représenté à Bruxelles lors d’une soirée très ouvertement politique, est d’emblée interprété comme un texte de militant. Pourtant, une étude de ce texte par le biais d’une approche sociocritique, en le confrontant à la production littéraire face à laquelle Kateb Yacine va se positionner ainsi qu’au discours ambiant, permet de porter un autre regard sur ce texte. À la lumière des archives de l’auteur, de sa production littéraire de jeunesse, systématiquement occultée par la critique, il apparaît que le texte relève plutôt d’un geste créateur typiquement romantique, dans la lignée des poètes romantiques qui furent les modèles de Kateb Yacine. Le texte est investi d’un matériau autobiographique très important, qui va être totalement occulté au moment de la réception du texte : en 1954, en plein commencement de la guerre d’Algérie, ce n’est pas un poète lyrique que les milieux littéraires réclament, mais un auteur militant. Les travaux de Jérôme Meizoz sur la notion de posture permettent de cerner les stratégies que Kateb a peu à peu élaborées pour négocier son apparition sur la scène littéraire. Le matériau autobiographique de l’œuvre, quant à lui, tentera de ressurgir au cours de la collaboration entre Kateb Yacine et Jean-Marie Serreau, pour finalement réapparaître dans la dernière œuvre de Kateb. Cette pièce sur la vie de Robespierre, Le Bourgeois sans-culotte, devient alors une pièce testamentaire, une cérémonie d’adieux de Kateb Yacine. / When Kateb Yacine publishes Le Cadavre encerclé in the review Esprit, in 1954, Jean-Marie Serreau praises this text immediately. At this time, Jean-Marie Serreau was a famous stage director and a very important pioneer of the dramatic avant-garde. His researches were both aesthetic and political at the same time. When he discovered Kateb Yacine, he was working on a very special kind of theatre, with the critics called the decolonisation theatre. Kateb’s text was published in a militant review, put on stage by someone who was an activist and performed in Brussels as part of a militant event : the text is immediately interpreted as militant itself. But a different analysis method – the sociocritical one – enables us to promote a different point of view. Studying how the text faces the contemporary litterary production makes appear how the writer tries to invent his position. The writer’s archives, his youth poems and letters, help us to understand that he does not write as a militant writer but as a romantic one – his models are XIXth century writers. The text shelters an important autobiographical material, which is condamned to be denied by the critics : in 1954 the war starts in Algeria, and the litterary circles do not want a lyrical poet but a commited writer to claim for decolonisation. Jérôme Meizoz’ works on the position concept enables us to stydu how Kateb Yacine constantly negociated the image he was assimilated to in this circles, his identity and position as a writer. Concerning the autobiographical material, Kateb Yacine will try to make it reappear all through his collaboration with Jean-Marie Serreau. It will finaly reappear in Kateb’s last play, Le Bourgeois sans-culotte. Originaly dedicated to Robespierre’s life, the play becomes Kateb’s testimony.

This thesis examines the potential use of a facilitated process of decolonisation, or whakawātea, amongst whānau whakapapa in Aotearoa. Ten kaimahi whānau of Ngāti Raukawa ki te Tonga, who have worked for many years in government, community, Māori and iwi social service agencies have shared their experiences of colonisation, racism, social work and decolonisation. Using a "from Māori, by Māori, with Māori, for Māori" research approach, their voices have been woven with the voices of other Māori and indigenous writers, to consider how a facilitated process of decolonisation, or whakawātea, could be used to assist whānau whakapapa to develop their own systems of support, based on the traditions, values, skills and beliefs of their tūpuna. Despite the positive development and wellbeing currently enjoyed by many whānau whakapapa, this study has developed in response to the disconnection from te ao Māori observed amongst many whānau whakapapa interacting with social service agencies. Colonisation has created loss of wairuatanga, kotahitanga and manaakitanga amongst many of these whānau whakapapa, and affected their ability to lead their own positive development and wellbeing. This study promotes a facilitated process of decolonisation, or whakawātea, as a means of reclaiming those values and strengthening whānaungatanga amongst whānau whakapapa. The process envisaged would enable whānau whakapapa to learn about the history of Aotearoa; hear the stories of their tūpuna; uncover their own truths, and exit the "Matrix" created by colonisation The Matrix, from the popular movie trilogy, is used in this study, as an analogy, and compares the computerised Matrix programme created by machines in the movies, with the "programme" created by the coloniser in Aotearoa. Within this programme, the traditions, values, skills and beliefs of the coloniser, dominate the traditions, values, skills and beliefs of tūpuna. This study argues that only through finding ways for all whānau whakapapa to exit the Matrix, will rangatiratanga be restored in Aotearoa.

The decade of the 1960s was a period of significant evolution in the foreign policy priorities of the Republic of Ireland. On 31 July 1961, Ireland applied for membership of the European Community. That application was vetoed in January 1963 by the French President, Charles de Gaulle. Nevertheless, it was an indication of the growing "Europeanisation" of Irish foreign policy, which was secured in May 1967 in a renewed and ultimately successful application by Ireland for membership of the Common Market. Because of the overlapping interests of the European Community and the North Atlantic Treaty Organisation (NATO), however, these initiatives towards integration with Western Europe posed a dilemma for the decision-makers in Dublin given that, in the Irish context, foreign policy was predicated on neutrality. Since Ireland's admission to the United Nations (UN) in 1955 and especially from the reinstatement of Frank Aiken as Minister for External Affairs in 1957, the diplomatic component of Ireland's neutrality was defined largely by its UN policy. Ireland's continued attachment to neutrality, despite its application for European Community membership, caused significant frustration to the governments of the member-states, especially France under de Gaulle, and was seen to be an obstacle to Ireland's accession. These concerns were communicated explicitly to Dublin, along with the view that Ireland needed to demonstrate a greater propensity to support Western interests on major international issues. Pressure of this kind had dissuaded other European neutrals (Austria, Finland, Malta and Sweden) from pursuing membership of the European Community until 1995 - after the Cold War had ended - but it did not deter the Irish. Despite the pressure from the European Community, Irish policy continued to be characterised by neutrality and, almost invariably, conflict with French UN policy. This included, amongst other matters, policy in relation to the non-proliferation of nuclear weapons, the financing of peacekeeping, the Vietnam War, representation of China at the UN, and various decolonization problems in Southern Africa. This insulation of Ireland's foreign policy from the imperatives of the application for membership of the European Community was largely the product of the fragmentation of decision-making in the formulation of Irish diplomacy. This research project takes a unique perspective on the topic by focusing, in particular, on the period 1965 to 1972 and, also, breaks further new ground in utilizing documentary material only recently released by the National Archives in Dublin, the University College Dublin Archives, the Public Record Office, London, and the UN Archives in New York, along with published diplomatic records and secondary sources. Consequently, it offers an original contribution to our understanding of Irish foreign policy in this crucial period of its development and the capacity of the Irish Government to reconcile the two fundamental and apparently conflicting pillars of its foreign policy - neutrality and membership of the European Community.

This thesis examines the politics of black identity in African American literature during what has come to be known as the ‘age of three worlds’. Across four chapters, I analyse texts by Ralph Ellison, Richard Wright, James Baldwin, and Lorraine Hansberry, exploring the way in which their writing plays out within and against the geopolitical exigencies of the Cold War and contemporaneous discourses of Civil Rights and black (inter)nationalism. In doing so, I explore the contrasting ways in which each of them displaces the binary logic that is typically seen as defining the 1950s, as a means of reconstituting both American and African American identity. Rejecting either/or identities, they all decentre prevailing notions of national and cultural identity by juxtaposing them with alternative spaces and temporalities, the result of which is a dual perspective that is simultaneously local and transnational. By extricating themselves, whether physically or intellectually, from a monolithic discursive framework, Ellison, Wright, Baldwin, and Hansberry recast the idea of double consciousness famously articulated by W. E. B. Du Bois in The Souls of Black Folk (1903). Instead of being a self-negating non-identity that serves as the psychological corollary to African Americans’ marginalised status, ‘two-ness’ is transmuted into a privileged vantage point that allows them to both intervene on the world historical stage as empowered modern subjects and renegotiate their relationship with the United States. What this two-ness amounts to, I argue, is a kind of dissonance. ‘Dissonance’, Duke Ellington claimed in 1941, names black people’s ‘way of life in America. We are something apart, yet an integral part’. The principle of introducing a ‘wrong’ note into a piece of music in order to generate new modalities of expression found in jazz is transposed into a social and literary context by the writers examined in this thesis. Each of them embodies and mobilises the socially grounded sense of being apart and a part alluded to by Ellington as a means of defamilarising normative notions of race, gender, and sexuality as they pertain to American-ness. In their place, they posit alternative forms of knowledge and politicised identity that reconstitute what it means to be both black and American in the middle of the twentieth century.