Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 88-90). Also available in print.

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 2001. / Includes bibliographical references.

Thesis (M.H.C.S.) -- University of Pretoria, 2007.

Thesis (M.Sc.)--University of Hong Kong, 2006. / Includes bibliographical references (p. 119-133).

This thesis looks at a European Union cultural initiative, the European Capital of Culture (ECC), and how the contest has become a way for the European Union (EU) to encourage a shared sense of European heritage among EU states while also leaving room for diversity within and across EU nations. It describes the ways in which the ECC delineates and constructs the acceptable boundaries of shared cultural expressions and cultural difference. The argument put forth here is that the EU’s focus on shared problems is becoming an important part of European identity, one that permits countries to maintain certain kinds of marketable difference, such as food or music, while also encouraging a common outlook on handling problems. I examine how heritage is being redefined in the European Capital of Culture contest. I analyze the ways in which the ECC contest strives for heritage that is less exclusive–although not completely inclusive–and how this heritage is defined more in terms of process than product. In aiming to create cross-EU bonds, the contest eliminates some boundaries while reifying others. Through the use of both document analysis and fieldwork, this thesis contributes to a better understanding of ways in which European identity is constructed through the contest, focusing specifically on how a discourse of shared problems has become a way for countries to live up to the EU motto “United in Diversity.”

South Africa’s long history of liberation art and music dates as far back as the 17th century when the Minstrel troupes, comprising slaves from South and South East Asia, East and West Africa, Madagascar and Mozambique, began the annual Tweede Nuwe Jaar tradition, a street festival that still takes place every year on 2 January (F. Inglese, 2014). With songs and performances that recalled “the worst that could be done to people by other people” (N. Worden, 2009), the “Struggle” landscape evolved over the following decades as composers and musicians responded to prevailing socio-economic and politically oppressive circumstances, their work reflecting protests against land dispossession, the pass laws, the enforcement of callous curfews and inhumane forced removals, among others. Against this backdrop, this dissertation explores the role of revolutionary songs in both the battle to end apartheid in South Africa, and their contribution to its ultimate demise. It foregrounds the critical role relevant music and lyrics have played throughout history in raising political awareness and uniting both minorities and majorities doing battle against brutalising, and racially oppressive regimes. It argues for the importance of preserving this element of South Africa’s historic memory, including when the contents make certain sectors of society uncomfortable. While accepting the ruling by Equality Court in 2011 on the matter between Julius Malema and Others against Afriforum and Others that deemed the song commonly known as dubul’ ibhulu (shoot the boer) as hate speech and serving to incite violence, the study will include it as an example of the deep complexity of retaining oral literature as a “collective expression and a celebration of communal, culture specific related experiences which enhance values in traditional societies’’ (A.M. van der Wal, 2009). This dissertation used an oral history research design in order to locate actual human experiences that are related to specific historic events. This required the completion of interviews with fifteen (15) subjects, along with the deployment of secondary sources, including published dissertations, journal articles, newspaper articles, books, websites and interviews. The paper reveals the integral role of revolutionary songs in adding impetus to the struggle against the racist and oppressive system of apartheid, and argues for continued interrogation and critical thinking to be applied as the country and its legislative structures provide space for individuals to talk simultaneously about their present experiences of needs, wants and desires (A.M. van der Wal, 2009). It is therefore inevitable that these will – and should – continue to have relevance as a means to pass on knowledge about the past, while helping inspire younger generations to continue their present-day struggles to secure a better future. / Dissertation (MSoSci)--University of Pretoria, 2020. / Andrew Mellon Foundation / Historical and Heritage Studies / MSoSci (Heritage and Museum Studies) / Unrestricted

For the Asiniskow Ithiniwak (Rocky Cree), the Missinipi (Churchill River) holds many traditional resource areas and cultural landscapes with oral histories that transfer knowledge through the generations (Linklater 1994; Castel and Westfall 2001; Brightman 1993). In recent decades, hydroelectric development in north central Manitoba has impacted Cree livelihood by altering resource use, limiting access to significant cultural landscapes and accelerating the erosion of campsites and ancestral burials into the water. Even with existing provincial heritage legislation, some of these heritage resources remain threatened by land-based developments because of the limitations related to their identification, documentation and presentation in the cultural resource management field. The tendency to focus on physical manifestations of heritage such as archaeological sites, heritage objects and built heritage overlooks other resources of heritage such as places known in the local language. I argue that these biases result from cultural divergences that exist in the understanding and definitions of heritage, particularly Indigenous heritage. In this dissertation, I articulate how underlying theoretical assumptions of reality influences our understandings of heritage. I present a postcolonial understanding of heritage as interpreted from the perspective of the Asiniskow Ithiniwak using an Indigenous research paradigm, methodologies and the nīhithow language, in conjunction with knowledge based on Western intellectual traditions. The use of a bicultural research model led to new ways in identifying heritage resources important to the Asiniskow Ithiniwak and meaningful interpretations of archaeological materials based on legal traditions. Further, this case study demonstrates that there is no singular or universal definition of heritage for Indigenous peoples. For successful heritage resources protection, I illustrate that understandings of heritage need to be contextualized locally through a community’s language, culture, customary laws and local landscape. This view, promoted by UNESCO, emphasizes that the values and practices of local communities, together with traditional management systems, must be fully understood, respected, encouraged and accommodated in management plans if their heritage resources are to be sustained in the future (Logan 2008; UNESCO 2004). This outcome demonstrates the need to reexamine the practices, policies, legislation and procedures concerned with Indigenous knowledge in cultural and natural resources management in Canada.

For the Asiniskow Ithiniwak (Rocky Cree), the Missinipi (Churchill River) holds many traditional resource areas and cultural landscapes with oral histories that transfer knowledge through the generations (Linklater 1994; Castel and Westfall 2001; Brightman 1993). In recent decades, hydroelectric development in north central Manitoba has impacted Cree livelihood by altering resource use, limiting access to significant cultural landscapes and accelerating the erosion of campsites and ancestral burials into the water. Even with existing provincial heritage legislation, some of these heritage resources remain threatened by land-based developments because of the limitations related to their identification, documentation and presentation in the cultural resource management field. The tendency to focus on physical manifestations of heritage such as archaeological sites, heritage objects and built heritage overlooks other resources of heritage such as places known in the local language. I argue that these biases result from cultural divergences that exist in the understanding and definitions of heritage, particularly Indigenous heritage. In this dissertation, I articulate how underlying theoretical assumptions of reality influences our understandings of heritage. I present a postcolonial understanding of heritage as interpreted from the perspective of the Asiniskow Ithiniwak using an Indigenous research paradigm, methodologies and the nīhithow language, in conjunction with knowledge based on Western intellectual traditions. The use of a bicultural research model led to new ways in identifying heritage resources important to the Asiniskow Ithiniwak and meaningful interpretations of archaeological materials based on legal traditions. Further, this case study demonstrates that there is no singular or universal definition of heritage for Indigenous peoples. For successful heritage resources protection, I illustrate that understandings of heritage need to be contextualized locally through a community’s language, culture, customary laws and local landscape. This view, promoted by UNESCO, emphasizes that the values and practices of local communities, together with traditional management systems, must be fully understood, respected, encouraged and accommodated in management plans if their heritage resources are to be sustained in the future (Logan 2008; UNESCO 2004). This outcome demonstrates the need to reexamine the practices, policies, legislation and procedures concerned with Indigenous knowledge in cultural and natural resources management in Canada.

The case concerning demolition of the Japanese General Government Building in Seoul, South Korea, from the Japanese colonialism has been discussed since Korea’s liberation in 1945, but the building had been used for many functions during that time frame. This building was finally demolished during the period 1995 to 1997, despite the national and international protestations. This research analysed newspaper articles to study the conflict between pro-demolition and pro-conservation groups in the newspapers to see how, and why the conflict proceeded. Korean newspaper archives were used to search four newspapers from the time period of 1991 to 1998, using the keyword ‘Japanese General Government Building’. The collected data was analysed with qualitative methodology to understand the conflicts in the newspapers. This analysis revealed three reasons put forward by the pro-conservation, Memorial and Educational Value, Art and Use Value, and Economic Value and, two reasons of pro-demolition, the Memorial Obstacle and Socio-cultural obstacle. Most reasons for both groups were classic arguments relating to other difficult heritage buildings, however, two different reasons are pertinent to this particular case: First, the government did not present any practical reasons to destroy the building. Second, Feng-Shui was presented as one of the main reasons for destroying the building. This socio-cultural element has been a fundamental and strong belief system in Korea.

Urban relics, memories of bygone eras, sit desolate and disregarded on the Northern and Southern fringes of the City of Tshwane’s inner-city, also known as Pretoria. Flaking facades, uninviting margins and deflected gazes have resulted in forgotten city  narratives, narratives that are immortalised in these monuments.  These compositions of culture, and remnants of the past, have fallen prey to the swift progress of the city and have been left forgotten as they retreat into the shadows of their former grandeur. Dwarfed by the bustle of the city and it’s towering urban fabric, a generation unknowing pass these urban gems daily, unaware of their past splendour. Existing now only as  urban scars, these buildings become spectators to the continued advancing and changing cityscape, they become invisible remnants of the city’s cultural and historical landscape.  The dissertation aims to generate a landscape design proposal for the Old Staatsmuseum building as an attempt to reactivate one such urban relic, to return it to some of its historic grandeur, and imagining new ways for old buildings to inject meaning into the cityscape. Drawing inspiration from creative industries, such as art, media and functional creations, the project investigates landscape architecture’s potential to; regenerate and remodel buildings into creative sites, prevent their further decay, celebrate their inherent adaptive history and  make them accessible to the new generation of city dwellers and visitors. Furthermore, such an attempt also seeks to connect and enhance the otherwise fragmented urban nature within the City of Tshwane, by connecting the Old Staatsmusem, to its context of the National Zoological Gardens, and further afield to the grassland landscapes of Gauteng. Landscape architecture is therefore used to present an allusion of the “continuation of cultural phenomena through built infrastructure” (Wong 2017:30) and as a catalyst for urban regeneration in the Pretoria inner-city. / Mini Dissertation (ML (Prof))--University of Pretoria, 2020. / Architecture / ML (Prof) / Unrestricted