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In an ever-moving world, urban governance and infrastructure have to adapt to climate change. In the meantime, people's concerns and engagement towards urban projects which will affect their lives are growing. The climate change adaptation process is inevitable to implement, considering the multiplicity of climate change threats. Hawai'i is no exception, and it has to adapt its infrastructures to stronger and more frequent floods. This master's thesis highlights the case of the Ala Wai risk flood management plan in Hawai'i, the U.S., and the engagement of some Hawaiians in the Protect Our Ala Wai Watershed (POAWW) grassroots movement against the proposed project. The conflict creates the emergence of two paradigms, which are translating two opposing strategies of action. Each paradigm aligns with a specific approach that reflects the interests and value systems of the individuals that constituted it. On the one hand, there is the economic growth paradigm supported by the United States Army Corps of Engineers (USACE), which manages the project and unfolds the resilience strategy by protecting Honolulu's dominant economic interests. On the other hand, there is the environmental justice paradigm, mobilized by the POAWW grassroots movement. This latter one is positioned within the transition strategy and demands the integration of indigenous knowledge into the project. To go beyond this conflictual standoff, the master's thesis argues that a hybrid paradigm, which would move towards a transformation strategy, would be preferable to surpass the current cleavages. This paradigm shift gives keys of actions and could be transferable in a contextualized way to other urban conflicts linked with the climate change adaptation process.

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[pt] Esta dissertação se propõe a trabalhar a forma como o resgate histórico é capaz de referenciar uma compreensão do encontro entre raça e classe no interior do sindicalismo indígena boliviano da segunda metade do século XX. Partindo de uma crítica à qualificação sócio-política da indigeneidade como uma atualização particular da luta de classes no país, o trabalho busca abordar a mediação entre o reconhecimento da diferença, em uma mão, com a afirmação ou reivindicação de um espaço de igualdade, na outra, para entender o complexo processo de negociação que balizou a integração e o reconhecimento político do indígena boliviano, desde a ofensiva latifundiária de meados do século XIX até após a revolução de 1952. A preocupação com sua subjetivação histórica, nesse sentido, intercruza dois processos fundamentais: o regime de suplementação que possibilita a aparência de fechamento significativo e as mediações representativas que condicionam sua visibilidade e possibilidade de ser ouvido. Assim, a partir de uma sobreposição narrativa, propõe-se explorar as liminariedades das categorias analíticas capazes de revelar, em seus traços, formas imiscíveis de ser e agir no interior da comunidade política que possibilitam solidariedades supranumerárias e irredutíveis a uma esquematização cumulativa de enfrentamento da desigualdade por parte de movimentos sociais. / [en] This dissertation aims to discuss the way historical recollection serves as a point of reference to comprehend the encounter, in the second half of the 20th century, between race and class inside the Bolivian indigenous labour movement. Starting from a criticism of the social-political understanding of indigeneity as a particular form of actualization of class struggle in the country, this study discusses the mediation between the reckoning of difference, in one hand, with the assertion or vindication of equality, on the other, as a manner to understand the complex negotiation that fundaments the integration and political recognition of the Bolivian indian, from the estate expansion in mid-19th century to the period that follow the 1952 revolution. Focusing on their historical subjectification, in this sense, overlaps two underlying processes: the supplementary regime that makes possible the appearance of a signifying totality and the representational mediations that condition their ability to be seen and heard. Therefore, through a narrative juxtaposition, it is proposed to explore the liminalities of analytical categories as a way to reveal, in its traces, immiscible forms of being and acting inside a political community that makes possible supernumerary forms of solidarity, irreducible to the schematization of a cumulative confrontation of social movements with inequality.

By asking the question “How do young, urban, professional Kenyans make connections between tribal identity, colonialism, and the lived experience of nationhood?,” the researcher engages with eight participants in exploring their relationships with their tribal groups. From this juncture the researcher, through a co-constructed process with participants, interrogates the idea of nationhood by querying their interpretations of the concepts of power and resistance within their multi-ethnic societies. The utility of KuPiga Hadithi as a cultural responsive methodology for data collection along with poetic analysis as part of the qualitative tools of examination allowed the researcher to identify five emergent and iterative themes: (1) colonial wounds, (2) power inequities, (3) tensions, (4) intersection, and (5) hope. Participant discussion of these themes suggests an impenetrable link between tribal identity and nationhood. Schooling, as first a colonial and then national construct, works to mediate that link. Therefore, there is the need for a re-conceptualization of the term ‘nation’ in the post-Independence era.

The thesis examined the roles and contributions of Black women during the African ancient civilization by analyzing the lives, roles and contributions of Queen Hatshepsut and Nefertiti as case studies and interrogates how Black women positioned themselves as political, military and spiritual leaders during the age of antiquity. The argument is that African women were more involved as leaders in the affairs of their communities as compared to the contemporary times. By using African centered paradigms, Afrocentricity and juxtaposing robust anti-colonial and Black feminist thoughts, the thesis investigates and recreates systematic narratives of the past roles of African women at the very height of African civilization, discussed the changes in sex-gender roles and explained why contemporary women continue to experience difficulties in assessing position of leadership and resources. The study reproduces measured facts to confront the blurred roles and contributions of African women and situates it at the centre of education.

The thesis examined the roles and contributions of Black women during the African ancient civilization by analyzing the lives, roles and contributions of Queen Hatshepsut and Nefertiti as case studies and interrogates how Black women positioned themselves as political, military and spiritual leaders during the age of antiquity. The argument is that African women were more involved as leaders in the affairs of their communities as compared to the contemporary times. By using African centered paradigms, Afrocentricity and juxtaposing robust anti-colonial and Black feminist thoughts, the thesis investigates and recreates systematic narratives of the past roles of African women at the very height of African civilization, discussed the changes in sex-gender roles and explained why contemporary women continue to experience difficulties in assessing position of leadership and resources. The study reproduces measured facts to confront the blurred roles and contributions of African women and situates it at the centre of education.

The following thesis examines the process of identity making in the novels Stolen (2021) by Ann-Helén Laestadius and Polar Fire (2021) by Moa Backe Åstot. By a comparative thematic analysis of the texts, and through concepts from postcolonial and decolonial theory, the thesis investigates the challenges for two Sámi youths in a contemporary Sápmi setting as they try to renew the image of Saminess. The analysis explores how aspects such as indigeneity, strategic essentialism, gender and sexuality influence the young characters Elsa and Ánte in their attempts to become independent reindeer herders. Elsa and Ánte are constantly reminded of the history and traditions of the Sámi people, which is filled with both pride and shame. Indeed, the thesis also takes into account the history of the Swedish church and the Swedish government's involvement in Sámi societies, such as the Sámi boarding schools that resulted in family separations and loss of language, and reindeer herding regulations that still affect the Sámi community today. The analysis concludes that history, government policies and strict interpretations of Sámi traditions are interwoven with contemporary Sámi culture, and thus affects the young protagonists as they try to navigate between the inherited collective struggle of their ancestors and their individual needs when it comes to shaping their own Sámi identity.

Text in English with summaries and keywords in English, Afrikaans and Zulu / Presented in two volumes. Volume 2 contains colour photographs / Bibliography: (volume 1: leaves 181-219) / The history of South African ceramics of the twentieth and twenty-first centuries tends to be presented in a compartmentalised manner in that it focuses on the leading exponents within genres and is limited to an investigation of the contexts that have an immediate bearing on their oeuvres. The result is a fragmented (and sometimes biased) view of the role players, circumstances, influences and incentives that have come to define South African ceramics. The thesis introduces key contributors who have hitherto been considered in relation to crafts and fine art but whose work with ceramic materials places them firmly within the ambit of South African ceramics. It also positions and evaluates the roles of the formal and informal twentieth-century educational and training agencies that, within the constraints of imposed political dogma, produced ceramists who successfully challenged staid Western aesthetics. Particular attention is given to how the black “traditional potters” exercised agency in negotiating a contemporary (as opposed to an ethnographic) presence in which they referenced the forms, meanings and values of “traditional pottery” to meet the expectations of the collector’s market. The thesis posits that the ceramists’ quest to claim an identity (or an “indigeneity”) in the turbulent political era of the later twentieth century has parallels with the intent and outcomes of African Modernism. African Modernism, which arose in postcolonial countries, sought to challenge Western binaries of art, craft, identity and presence and typically made use of hybridity to that end. The same presence of hybridity is evident in twentieth-century South African ceramics, which must be read as an engagement with a multi-cultural society within which the ceramists sought to position themselves. The thesis illustrates the progression of hybrid features from an initially crude and superficial referencing of indigenous and African material culture to subjective translations of that culture that are presented in innovative approaches. This theme is further explored in relation to South African ceramics of the twenty-first century, and evidence suggests that some of the ceramists’ oeuvres can now be considered transcultural and even transnational. The thesis, which is by its nature an enquiry that presents new or reassessed evidence is neither a fully inclusive nor an absolutist revision of the history of ceramics. / Die geskiedenis van Suid-Afrikaanse keramiekkuns van die twintigste en een-entwintigste eeu is geneig om op ʼn onderverdeelde wyse voorgehou te word, omdat dit op die hoofeksponente in genres fokus en beperk is tot ʼn ondersoek na die kontekste wat ʼn direkte uitwerking op hul oeuvres het. Die resultaat is ʼn gefragmenteerde (en soms bevooroordeelde) beskouing van die rolspelers, omstandighede, invloede en aansporings wat Suid-Afrikaanse keramiekkuns definieer. Die tesis stel sleutelbydraers bekend wat tot dusver met handwerk en beeldende kuns verbind is, maar wie se werk met keramiekmateriale hulle sonder twyfel binne die sfeer van Suid-Afrikaanse keramiekkuns plaas. Daarbenewens posisioneer en evalueer die tesis die rolle van die formele en informele twintigsteeeuse opvoeding- en opleidingsagentskappe wat, binne die beperkings van voorgeskrewe politieke dogma, keramiste opgelewer het wat oninspirerende Westerse estetika suksesvol betwis het. Aandag word veral geskenk aan hoe die swart “tradisionele pottebakkers” bemiddeling uitgeoefen het in die verwesenliking van ʼn kontemporêre (teenoor ʼn etnografiese) teenwoordigheid waarin hulle verwys het na die vorme, betekenisse en waardes van “tradisionele pottebakkery” om aan die verwagtinge van die versamelaarsmark te voldoen. Die tesis voer aan dat daar parallelle bestaan tussen die keramis se soeke om op ʼn (inheemse) identiteit te kan aanspraak maak in die onstuimige politieke era van die latere twintigste eeu, en die oogmerke en uitkomste van Afrika-modernisme. Afrika-modernisme het in na-koloniale lande ontstaan en het beoog om Westerse binêre pare van kuns, handwerk, identiteit en teenwoordigheid te betwis; om hierdie doel te bereik is hibridisme gewoonlik gebruik. Dieselfde teenwoordigheid van hibridisme kan gesien word in Suid-Afrikaanse keramiekkuns van die twintigste eeu, wat beskou moet word as ʼn gemoeidheid met ʼn multikulturele samelewing waarin die keramiste hulself probeer posisioneer. Die tesis illustreer die vooruitgang van hibriede eienskappe, van ʼn aanvanklik onafgewerkte en oppervlakkige verwysing na inheemse en Afrika- materiële kultuur, na subjektiewe interpretasies van daardie kultuur wat in innoverende benaderings voorgehou word. Hierdie tema word verder ondersoek in verband met SuidAfrikaanse keramiekkuns van die een-en-twintigste eeu, en bewyse dui daarop dat sommige van die keramiste se oeuvres nou as transkultureel en selfs as transnasionaal beskou kan word. Die tesis, wat in wese ʼn ondersoek is wat nuwe of hersiende bewyse voorhou, is nóg ʼn ten volle inklusiewe nóg ʼn absolutistiese hersiening van die geskiedenis van keramiekkuns. / Umlando weseramiki yaseNingizimu Afrika kwikhulu leminyaka lamashumi amabili namashumi amabili nanye uvamise ukwethulwa ngendlela ehlukaniswe ngezigaba ngokuthi igxile phezu kwezingcweti ezihola phambili ngaphakathi komkhakha wezinhlobo kanti lokhu kugxile kuphela kuphenyo lwezizinda ezinomthintela osheshayo phezu kwemisebenzi yonke yalezo zingcweti. Umphumela ukhombisa umbono owehlukene (kanti ngesinye isikhathi umbono owencike kwingxenye eyodwa) wabadlalindima, wezimo, wemithelela kanye neziphembeleli ezichaza iseramiki eNingizimu Afrika. Ithesisi yethula abagaleli abasemqoka ukufika manje okudala benakiwe mayelana nemisebenzi yobuciko kanye nemisetshenzana yobuciko obuncane kodwa imisebenzi yayo yomatheriyali weseramiki ibabeka ngaphakathi komkhakha wezeseramiki eNingizimu Afrika. Lokhu kuphinde futhi kuhlole izindima zezinhlaka zemfundo nezoqeqesho ezihlelekile nezingahlelekile, lezo ngaphaklathi kwezihibhe zohlelo olumatasa lwepolitiki, lukhiqize osolwazi bezeseramiki abaphonsele inselele ngempumelelo osolwazi bezobuhle beNtshonalanga. Kugxilwe kakhulu kwindlela ababumbi bendabuko abamnyama “traditional potters” abasebenzisa ngayo ubummeli uma bexoxisana ukubonakala emsebenzini wesikhathi samanje (njengoba lokhu kuphambene ne-ethinigrafi) lapho baye bariferensa izindlela, izincazelo kanye nezinga lobugugu bobuciko bendabuko bokubumba ukufeza izinhloso ezilindelwe zemakethe yabaqoqi bomsebenzi wobuciko. Ithesisi iyasho ukuthi impokophelo yosolwazi bezeseramiki yokuzitholela uphawu oluchaza ubunjalo babo (or an “indigeneity”) esikhathini esibucayi sezepolitiki sekhulu leminyaka yamashumi amabili inezimpawu ezifanayo ngenhloso kanye nemiphumela yohlelo lwesimanjemanje sase-Afrika African Modernism. Uhlelo lwe-African Modernism, oluqhamuka kumazwe avele ngemuva kombuso wobukoloni, luphonsela inselele yezinhlelo zobuciko, yesithombe sobuciko kanye nobukhona bobuciko kanti ikakhulukazi bukhandwe ngobuciko bokuhlanganisa izinhlobo (hybridity) ezahlukile. Ubukhona bohlelo lokusebenzisa izinhlaka ezahlukile lwe-hybridity lubonakala kwimisebenzi yeseramiki yesenshuwari yamashumi amabili yaseNingizimu Afrika, okufanele ifundwe njengomsebenzi ohlanganiswe ndawonye nomphakathi wamasiko amaningi, kanti ngalo msebenzi ababumbi beseramiki bafuna ukuziphakamisa ngawo. Ithesisi ikhombisa intuthuko yezimpawu wumsebenzi oyingxubevange (hybrid) ovela kwindlela yokureferensa eluhlaza neyobuciko bamaqhinga bosiko lwendabuko lomatheriyeli wase-Afrika ukuphawula ngemisebenzi ehunyushiwe yalolo siko eyethulwe ngezindlela ezinamaqhinga amasha. Lesi sihloko siqhubekela phambili nokuhlolwa mayelana nohlelo lweseramiki eNingizimu Afrika kwisenshuwari yamashumi amabili, kanti ubufakazi buyasho ukuthi eminye imisebenzi yosolwazi bobuciko beseramiki ingathathwa njengemisebenzi ekhombisa ukushintsha amasiko kanye nokushintsha kwesizwe. Ithesisi, ngokwemvelo yayo ingumbuzo owethula ubufakazi obusha noma ubufakazi obubuyekeziwe, le thesis ayiwona umsebenzi oxuba konke futhi ayikona ukubuyekezwa kwangempela komlando weseramiki. / Art History, Visual Arts and Musicology / D. Phil. (Art)