M.Ed. (Education) / Please refer to full text to view abstract

The literature on development abounds with examples of development failure, yet people still choose to be involved in small-scale development projects. The study explores the unforeseen and less obvious value of projects in the lives of ordinary people in Giyani, Limpopo, South Africa. During the past three decades, the place and people have experienced considerable political, economic and social transformation – Giyani started as the capital of the Gazankulu homeland, but is now in a unified country, part of the present dual economy. Hence, the link between the Giyani project participants’ experiences and the adjustment to the changes was investigated. Interviews with members of four small-scale development projects formed the ethnographic component of the study. These interviews were augmented by a household survey to determine the participation levels in small-scale projects. The study explores the extent to which the needs of the participants are being met by the projects, using Bourdieu’s distinction between economic, social, cultural and symbolic capital as a lens. The effects of ‘structural adjustment’ measures on qualified professionals (civil servants), their participation in projects and adaptation to changes are examined. The study also investigates the experiences of gender empowerment and changes with regard to subservience to customary law and traditional authorities. The gender and power relations of the ageing process were also examined. The study examined the Avelanani crèche, which was formed to provide pre-school education for the children of refugees from Mozambique, and which was funded through missionary networks. The Giyani Aged Garden project, established by the homeland government, provides a space for retired people from both the civil service and those from poor backgrounds to share and function for their mutual benefit. Ahitipfuxeni, a town-based project, has stage-managed its qualification for funding from various government departments and agencies. By contrast, Hi Hlurile, a project established during ‘structural adjustment’ by professionally trained women, straddles the Second and First Economies and is using business principles, product and service quality, and global connectedness to access ‘social funds’ and other networking opportunities. The study has revealed that these four projects have not achieved the goal of economic empowerment, but that they do provide a safe haven for women and men in times of rapid changes in the political, social and economic spheres. The participants demonstrate agency within a project environment that promotes participative decision-making, democratic leadership and activities supporting empowerment through the accumulation of various forms of capital. The survey demonstrated that 16.2% of the residents of Giyani were involved in small-scale projects. Of the project participants, 89% were women, and 63% of the households of project participants depended solely on government grants for regular income. The findings of the study were used to analyse the government’s plan to facilitate development through Community Development Practitioners, a concept that would promote State planning and control that would stifle the agency of people, would increase the size of the civil service and absorb funding that should reach the poor. / Thesis (DPhil)--University of Pretoria, 2011. / Anthropology and Archaeology / unrestricted

AFRIKAANS: Enkele tegniese skeppinge wat die Tsongavrou in die tradisionele lewenswyse vervaardig en wat prominent by die Tsongakraal-Opelugmuseum in die Hans Merensky-Natuurreservaat gedemonstreer word, is as studiemateriaal geselekteer. Weens die museologiese vereiste en noodsaaklikheid van goedgedokumenteerde voorwerpe is pottebakkery, soutontginning en kralewerk deeglik volgens vorm, funksie en vervaardigingswyse binne die museum sowel as in Gazankulu, tuiste van die Tsongavrou, nagevors. Dit is ook volkekundig binne funksionele kultuurverband behandel. Historiese gebeurtenisse is nagegaan wat die Tsonga van die huidige Gazankulu met die Tsonga van Mosambiek, hul oorspronklike tuiste vir baie eeue, verbind. Ook die kulturele lewe van die mense van wie in hierdie studie sprake is, is kortliks geskets. Beperkinge wat die museumopset op 'n lewensgetroue weergawe van 'n volk meebring, en die mate van kunsmatigheid wat wel voorkom, is kortliks bespreek. Pottebakkery by die Tsonga, alhoewel deur die omliggende stamme beïnvloed, toon 'n eie karakter, veral as daar meer gekonsentreer word op die oorspronklike Tsonga-keramiekware wat tot in Mosambiek nagevors kon word. Vervaardiging kom nie meer so algemeen voor nie, maar benutting is meer verspreid. 'n Hele stel potte wat kookpotte, bier- en waterpotte, eetbakke, waskomme en maalbakke insluit, word volgens vorm, funksie, voorkoms en vervaardigingswyse bespreek. Soutvervaardiging tref ons by die Tsonga aan, omdat daar 'n paar southoudende minerale warmwaterbronne in Gazankulu voorkom. Argeologiese en etnologiese gegewens dui daarop dat hierdie ontginningsproses alreeds vir die afgelope 1800 jaar bedryf word. Handel is met sout gedryf en hierdie sout is gesog, omdat magies-religieuse eienskappe daaraan toegeskryf word. Die Tsonga was die soutvervaardigers ten minste gedurende die afgelope 100 jaar. Die Tsonga beskik oor hul eiesoortige kralewerk wat as bykomstige versiering gedra word. Veral tydens feestelikhede word hierdie kleurvolle kralesierade vertoon. 'n Kralewerk-klassifikasie kon volgens voorkoms, funksie en vervaardigingswyse saamgestel word. Hierdie bedryf kan, as 'n aspek van die tegniese skeppinge van die Tsongavrou, met welslae in die opelugmuseum uitgebeeld en uitgebrei word. Daar is tot die gevolgtrekking gekom dat die Tsongakraal-Opelugmuseum definitief bestaansreg het, omdat die Tsonga 'n eiesoortige kultuurlewe openbaar. Met 'n weldeurdagte en goedbestuurde uitstallings-, vervaardigings-, en verkoopsaksie het hierdie opelugmuseum besliste uitbreidingsmoontlikhede en kan die bestaande funksies van versameling, bewaring en opvoeding deur middel van programme en uitstallings nog beter tot hul reg kom. Band II bestaan uit 'n fotodokumentasie wat die teks oor die vervaardigingswyse van tegniese skeppinge aanvul. Bylaes wat handel oor die vervaardigingswyse van tegniese skeppinge, Tsongabotanie, 'n Tsongawoordelys oor tegniese skeppings wat in hierdie studie genoem word, asook aanvullende historiese inligting en liggingskaarte word aangeheg. ENGLISH: A description is given of some aspects of the material culture of the Tsonga women of Gazankulu as demonstrated at the Tsongakraal Open-air Museum in the Hans Merensky Nature Reserve. Pottery, headwork and the salt extraction process have been described museologically according to form, function and the process of manufacture. Anthropologically the functional approach to culture has been followed. A short historic and cultural survey has been given of the Tsonga people who first lived in Mozambique, their role as traders over the centuries on the old trade routes through Gazankulu and their reason for settlement in present Gazankulu. The restrictions and superficiality in portraying a way of life within the museum has been discussed in short. Pottery has been influenced by the surrounding tribes, but a specific Tsonga pottery tradition has been identified, leading back to Mozambique. Although there seems to be a decline in the manufacture of pots, a whole range of ceramic ware which includes cooking pots, beer and water pots and bowls could be described according to form, function, manufacturing process and decorative patterns. Archaeological and ethnological references to the 1800 year old salt extraction industry from salt pans near mineral springs in Gazankulu, assisted in the reconstruction of the whole process with its uses and magico-religious properties. The Tsonga were the salt producers for at least the last one hundred years. Headwork as adornment features prominently amongst Tsonga women, especially during festivals. A classification system of all the headwork has been compiled and described according to appearance, function and manufacture. The manufacturing of headwork can be introduced as a further aspect of material culture in the open-air museum. The study concludes that the distinguishing material culture of the Tsonga gives purpose to the existence of the Tsongakraal Open-air Museum. With creativity and a well-planned management programme, the museological functions of collection, preservation and education (recreational programmes and displays) of this museum can be extended. Annexures include a detailed photographic record of the manufacturing of items of material culture, the ethno-botany of the Tsonga, a list of Tsonga cultural terms as well as maps and historical information. / Dissertation (MA)--University of Pretoria, 2013. / Anthropology and Archaeology / unrestricted