As women in South Africa, it is important for us to understand the nature of our oppression, for it is only after understanding it, can we identify the target of our attack and plan the appropriate strategy and tactics for our struggle. Black women in South Africa suffer three types of oppression. 1. Political oppression, which is common to all blacks in South Africa, ie. the denial of rights to vote for or choose the type of government we want, and the denial of rights as a people in South Africa. 2. Economic oppression as black workers in South Africa. Black women workers are even more exploited than men workers. They are paid lower wages for the same job, are treated as temporary staff and can be fired at anytime especially if they fall pregnant. 3. Social oppression which stems from the idea that women are born inferior to men and therefore have to play an inferior role in society. The socialization process starts at birth and women and men are geared towards certain roles in society. Men most often towards leadership positions and professional jobs and women towards household duties and secretarial jobs. This socialization process continues throughout ones life such that most people accept it as a natural phenomenon and a way of life. Having understood the forms of oppression, we can see that the struggle is not between men and women, where men are seen as the source of our oppression. Nor is it a struggle for mechanical equality between men and women ie. being paid the same wages as men, and having equal status as men in society, because this will mean equality within the present status quo. Our struggle is a struggle between womenand the existing social order. It is a struggle of the oppressed against oppression. Our main weapons in the struggle for liberation are UNITY and ORGANISATION. Unity is realised through common effort, links are forged through collective work and study, through criticism and self-critcism and through action against opression. Organization can be achieved through women's groups and organization. A women's group's first demand should be the clarification of our ideas, to get rid of miscosepts and erroneous ideas concerning the role and liberation of women. A women's group usually tackles the question of social oppresion, but more important, it must be seen as a stepping stone towards involvement in the broader struggle can we destroy the foundations of exploitative society and rebuild society on new foundations. Foundations built on the demands of the FREEDOM CHARTER. “The fundamental struggle is for national liberation of the oppressed people of South Africa, and any women's organization that stands outside this struggle must stand apart from the mass of women. What was realised by the Federation of South African Women was that it would be impossible for women to achieve their rights as women in a society in which so many fundamental rights are denied to both men and women by virtue of their colour and their class. Therefore just as there can be no revolution without the liberation of women, the struggle for women's emancipation cannot succeed without the victory of the revolution".

The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences.  The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of emotional investments, conflict resolution and social liaison.

No description available.

[EN] Gilding with gold produced in thin plates or leaves as a work of art goes back to the earliest civilizations of human history. The specific craft/trade of gilders started developing in the geographical and cultural area of the Levante around Valencia in the fifteenth century. The gilder is in charge of, among other activities, applying very thin gold leaves with a very complex and precise technique on a support primarily of wood and subsequently also plaster. These techniques of gilding and polychrome on gold have meant that a very specific type of expertise has been acquired and achieved with very specific goals since the fifteenth century up to the present date. This research aims to study the different processes in gilding with gold leaf, the techniques and materials used, and the evolution of this profession in occidental culture, focusing on three fundamental pillars: written documentation, practical experience and our own work. There is a great variety of treaties and manuals, both ancient and modern, as well as references in documents and in the latest studies on gilding and polychrome, which can be regarded as very important for different reasons: the information provided, the various perspectives and the specific individual solutions to common approaches. We constantly refer to all this documentation in our study because it enables us to set the basis of the formulated hypotheses or reach the conclusions drawn by other means. The study of an important workshop such as Porta's, which was active throughout the twentieth century, is a key element to understanding this profession and to learn first-hand the techniques and procedures used, as they result from an inheritance received from masters and a careful and thoughtful practice. The experience of this workshop throughout this century, the impressive amount of work carried out, the scrupulous respect for the procedures and working methods, and the artefacts themselves that have been left for posterity, are the irrefutable proof of the importance of the workshop and the information that has been passed down. The craft of gilders has a noteworthy historical development in Valencia with some critical moments that coincide with important periods of social and cultural growth. The heritage preserved in this sense, despite some irretrievable losses, is really diverse. The information that can be extracted from different physical and chemical analyses is valuable and can be contrasted with the acquired facts studied through documentation and practice. The results drawn from thirty samples with optical and electron microscopies, X-ray, infrared spectroscopy, chromatography of gases or voltammetry of micro-particles are also an essential scientific body of knowledge of the works themselves that confirm hypotheses. Finally, the practical execution of five examples from historical samples determines, in a real way, the study and the hypotheses about the different procedures, techniques and materials, the water gilding, as well as the various decorations and polychrome applied. These five samples are presented in a didactic manner to help understand and comprehend the long and complicated traditional work processes with gold leaf. / [ES] Las obras de arte doradas con oro elaborado en finas placas o en hojas se remontan en la historia del hombre a las primeras civilizaciones. En nuestro ámbito geográfico y cultural valenciano, a partir del siglo XV, se desarrolla el oficio de dorador, encargado entre otras actividades de aplicar unas finísimas hojas de oro con una técnica muy compleja y precisa sobre diversos soportes, principalmente de madera, y posteriormente también de yeso. Estas técnicas de dorados y policromías sobre oro tienen una trayectoria concreta y unas finalidades específicas que se han desarrollado desde el siglo XV hasta nuestros días. En la presente investigación nos proponemos estudiar los diferentes procesos de dorado con pan de oro, las técnicas y materiales utilizados, la evolución del oficio en el ámbito occidental, a partir de tres pilares fundamentales, la documentación escrita, la experiencia práctica y las propias obras. Los tratados y manuales, antiguos y modernos, las referencias en diversos documentos y los estudios más actuales sobre dorados y policromías, son abundantes y muy importantes por la información que aportan, por sus diferentes puntos de vista y por las soluciones concretas y particulares a planteamientos comunes. La referencia a toda esta documentación es constante en nuestro estudio para poder fijar las bases y las hipótesis presentadas, o constatar las conclusiones obtenidas por otros caminos. El estudio de un obrador importante como el de los Porta, activo durante todo el siglo XX, es una pieza clave para poder entender este oficio y llegar a conocer de primera mano las técnicas y procedimientos utilizados, que son fruto de una herencia recibida por maestros y una cuidada y atenta praxis. La trayectoria de este taller a lo largo de la centuria, la imponente calidad y cantidad de obras realizadas, el escrupuloso respeto por los métodos y procedimientos de trabajo, y la propia obra que ha dejado para la posteridad, son la corroboración fehaciente de la importancia del obrador y de la valiosa información que hemos recibido. El oficio de dorador tiene en Valencia una trayectoria considerable, con algunos momentos álgidos coincidentes con crecimientos socioculturales importantes. El patrimonio conservado en este sentido, pese a las pérdidas irrecuperables, es realmente grande y variado, y la información que podemos extraer a partir de diferentes análisis físicos y químicos muy preciada para poderla contrastar con la estudiada a partir de la documentación y la práctica. Los resultados obtenidos a partir de treinta muestras con microscopia óptica y electrónica, rayos X, espectroscopia infrarroja, cromatografía de gases, o voltamperometría de micropartículas, son una eficaz información científica de las propias obras para confirmar las teorías propuestas. Finalmente, la realización práctica de cinco ejemplos a partir de muestra históricas, constata de manera real, el estudio y las hipótesis de los diferentes procedimientos, técnicas y materiales del dorado al agua, y las variadas decoraciones y policromías aplicadas. Se trata de cinco muestras que presentamos elaboradas de manera didáctica para poder entender y comprender los largos y complicados procesos tradicionales del trabajo con el pan de oro. / [CAT] El daurat amb or elaborat en fines planxes o en fulls com a obra d'art es remunta en la història de l'home a les primeres civilitzacions. Al nostre àmbit geogràfic i cultural valencià, abans del segle XV es desenvolupa l'ofici concret del daurador, encarregat, entre altres activitats, d'aplicar uns finíssims fulls d'or amb una tècnica molt complexa i precisa sobre un suport principalment de fusta, i posteriorment també d'algeps. Aquestes tècniques de daurats i policromies sobre or tenen una trajectòria molt concreta i unes finalitats molt específiques que s'han desenvolupat fins els nostres dies. Ens proposem en la present investigació, estudiar els diferents processos de daurat amb pa d'or, les tècniques i materials emprats, i l'evolució de l'ofici en l'àmbit occidental, a partir principalment de tres pilars fonamentals, la documentació escrita, l'experiència pràctica i les pròpies obres. Els tractats i manuals, tant antics com moderns, així com les referències en distints documents i els estudis més actuals sobre daurats i policromies, són abundants i molt importants per la informació que aporten, pels diferents punts de vista i per les solucions concretes i particulars a plantejaments comuns. La referència a tota aquesta documentació és constant en el nostre estudi per fixar les bases de les hipòtesis presentades o constatar les conclusions extretes per altres camins. L'estudi d'un obrador important com el dels Porta, actiu durant tot el segle XX, és una peça clau per a poder entendre aquest ofici i poder conèixer de primera mà les tècniques i procediments emprats, que són fruit d'una herència rebuda de mestres i d'una acurada i atenta praxi. La trajectòria del taller al llarg de la centúria, la imponent qualitat i quantitat d'obres realitzades, l'escrupolós respecte pels mètodes i procediments de treball, i la pròpia obra que ha deixat per a la posteritat, són la corroboració fefaent de la importància de l'obrador i de la valuosa informació rebuda. L'ofici de daurador té a València una trajectòria considerable, amb alguns moments àlgids coincidents amb creixements socioculturals importants. El patrimoni conservat en aquest sentit, malgrat les pèrdues irrecuperables, és realment gran i variat, i la informació que podem extreure'n a partir de diferents anàlisis físiques i químiques, molt preuada per poder contrastar-la amb l'estudiada a través de la documentació i la pràctica. Els resultats obtinguts a partir de trenta mostres amb la microscòpia òptica i electrònica, raigs X, espectroscòpia infraroja, cromatografia de gasos, o voltamperometria de micropartícules, són una eficaç informació científica i transcendent de les pròpies obres per a confirmar les teories proposades. Finalment, la realització pràctica de cinc exemples a partir de mostres històriques, constata de manera real, l'estudi i les hipòtesis dels diferents procediments, tècniques i materials del daurat a l'aigua, i les variades decoracions i policromies aplicades. Es tracta de cinc mostres que presentem elaborades de manera didàctica per poder entendre i comprendre els llargs i complicats processos tradicionals de treball amb el pa d'or. / Ferragud Adam, XV. (2015). Estudi de les tècniques del daurat i la policromia sobre l'or a l'escola valenciana del segle XV al segle XX. Anàlisi dels materials, tècniques i procediments [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59400 / TESIS

This qualitative study explored the lived experiences of adolescents living with vertically acquired HIV receiving treatment, care and support services at Dora Nginza Wellness clinic, in Port Elizabeth, South Africa. Six adolescents living with vertically acquired HIV (four females and two males) between the ages of 16-17 years participated in in-depth semi-structured open-ended individual interviews. Tesch’s (1990) method of data analysis for qualitative research was used to analyse the interviews. Adolescents that participated in the study spoke widely about the outlook on their illness and their lives both in the past and present. They depicted fear, anxiety, pain and sadness in their lived experiences. They were anxious about their own death and had experienced illness and death of parents, siblings and close relatives due to HIV and AIDS. They described painful and traumatic life events related to their illness which included knowing their own HIV status and severe health problems and hospitalisations. They all learnt about their HIV status in early adolescence and choose not to disclose their status to people outside the family due to fear of rejection, stigma and discrimination. Taking ARVs was challenging to the participants due to side effects and strict medication schedules. Their school attendance and performance was affected by their illness. Family was an important resource of support. The participants had good experiences of HIV treatment at the Wellness clinic. The findings suggest that adolescents living with vertically acquired HIV faced a number of challenges in dealing with their disease and its treatment. They need intensive care and support services that enhance their positive self, facilitate self-disclosure and decrease and discourage stigma and discrimination at school and within their communities. / Health Studies / M.A. (Social Behavioural Studies in HIV/AIDS)

This qualitative study explored the lived experiences of adolescents living with vertically acquired HIV receiving treatment, care and support services at Dora Nginza Wellness clinic, in Port Elizabeth, South Africa. Six adolescents living with vertically acquired HIV (four females and two males) between the ages of 16-17 years participated in in-depth semi-structured open-ended individual interviews. Tesch’s (1990) method of data analysis for qualitative research was used to analyse the interviews. Adolescents that participated in the study spoke widely about the outlook on their illness and their lives both in the past and present. They depicted fear, anxiety, pain and sadness in their lived experiences. They were anxious about their own death and had experienced illness and death of parents, siblings and close relatives due to HIV and AIDS. They described painful and traumatic life events related to their illness which included knowing their own HIV status and severe health problems and hospitalisations. They all learnt about their HIV status in early adolescence and choose not to disclose their status to people outside the family due to fear of rejection, stigma and discrimination. Taking ARVs was challenging to the participants due to side effects and strict medication schedules. Their school attendance and performance was affected by their illness. Family was an important resource of support. The participants had good experiences of HIV treatment at the Wellness clinic. The findings suggest that adolescents living with vertically acquired HIV faced a number of challenges in dealing with their disease and its treatment. They need intensive care and support services that enhance their positive self, facilitate self-disclosure and decrease and discourage stigma and discrimination at school and within their communities. / Health Studies / M.A. (Social Behavioural Studies in HIV/AIDS)