The Natal Provincial Museum Ordinance, No. 26 of 1973, made provision for the establishment, control and management of museums and art galleries in KwaZulu-Natal by the Provincial Administration. A museum service was created to provide technical and professional assistance to those museums which are affiliated to the Service. Twenty-one years later, museums in general, including those in KwaZulu-Natal, are discussing a restructuring of museums and policies. A new national policy for museums in South Africa is envisaged within the foreseeable future. This will effect the museums in KwaZulu-Natal. The development of the KwaZulu-Natal Provincial Museum Service has never been fully documented. As it is possible that the Museum Service in its present form might change, the author considered it relevant to research the development of the Service since its inception in 1974. Unpublished documents formed the bulk of the material used for the study. This includes minutes of the Museum Service Advisory Board; minutes of affiliated museum committee meetings; unpublished reports; memoranda and letters. The official legislation relating to the Museum Service, as well as resolutions taken by the Executive Committee of the Province of KwaZulu-Natal, were studied. In some instances, the author used personal knowledge gained while working at Museum Service, to augment written sources. Verbal communications with Museum Service staff members and individual curators also provided information. The findings of the study clearly show that the problems experienced in 1985, i.e. too few staff and too little money in relation to the number of affiliated museums, are still experienced. The service which Museum Service provides is of a high quality, but the delay in providing displays to affiliated museums or upgrading the displays that have been mounted, is a problem. The Restoration Section is also in need of more staff, including apprentices who can be taught the techniques of restoration. These problems will become more serious as the Service starts supplying museum services to the rural and disadvantaged areas of KwaZulu-Natal. However, these problems can be overcome if funding is increased and more staff are appointed. The Service has the infrastructure and know-how to provide a valuable service to the museums of KwaZulu-Natal. The study was significant in that it documented the past history of the Museum Service and showed, not withstanding the problems the Service has experienced, what has been achieved in the twenty-one years of its existence. The valuable foundation which has been laid should serve as an inspiration for the future. / Thesis (M.I.S.)-University of Natal, Pietermaritzburg, 1997.

See abstract in full text document. / Thesis (M.A.)-University of KwaZulu-Natal, 2007.

Broadly speaking, art can be described as man’s emotion made tangible, providing a visual memory of the past. Resistance art is no different save the strength of its embedded meaning bound to context through signs and cultural references. In a pre-liberation South Africa, resistance art formed one of the critical voices of opposition to the apartheid regime and from the Rorke’s Drift Art and Craft Centre in Zululand this voice resounded. The memory of this together with the memory of the Rorke’s Drift artists has become dissociated from the actual place resulting in a gap in the history of South African art as well as the history of KwaZulu-Natal and South Africa. In light of this, this document explores the potential of art to generate built-form. By examining the link between man, society and art through the review of relevant literature, it is found that memory can be revived as a key driver behind the meaning of art and built-form through the provision of place as governed by issues of cultural identity, symbols and meaning context and the experiential. This conclusion is extended through precedent studies to include the art in question and is proved through the use of a case study. The significance suggested is that there is a global opportunity for art to provide meaning to the built environment and a local potential to directly address the loss of meaning and memory of Rorke’s Drift. In other words, it is proposed that meaning can be returned to Rorke’s Drift if the fundamental issues of memory are addressed, thereby continuing the narrative of South African art and contributing to it in the future. / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2012.

What is the work of the Durban Holocaust Centre museum educators and how are they shaping Holocaust education there? These questions provided the impetus for this study. Education about the Holocaust has been included in curricula not only in South African schools but in various countries around the world. The reasons for this extends beyond the hard historical facts and figures and go to the heart of a human search for meaning and the desire to promote democracy and human rights in society. The Holocaust was an event in which millions of Jewish men, women and children were murdered as well other ethnic groups. The dilemmas they faced and the decisions taken at that time differentiated the participants into victims, perpetrators, bystanders and upstanders. In the years since the end of World War II, people have strived to extract meaning from those events and to teach it to new generations in order to create a better world - a world in which bullying, racial and ethnic taunts and tensions, violence, discrimination against minorities and strangers, and genocide still occur. The findings show that as in other places in the world, this is the educational focus at the DHC. Teaching the history and events is the bedrock on which this social Holocaust education rests but it takes second place in the educational programme to this social goal. The findings show the local context for this learning is significant and that apartheid, racism and xenophobia all underpin the museum educators' educational philosophies while mother-tongue language moulds their teaching strategies. The museum educators play a pivotal role in presenting the educational programme and in so doing shaping the Holocaust for the visiting learners and teachers. / Thesis (M.Ed.)-University of KwaZulu-Natal, Edgewood, 2011.

For the most part learning in museums was by inert looking and listening and not by doing. For a long time traditional ideas of museums were conceptualized on an adult audience and children were expected to enjoy the museum going experience like they were adults. Museum architecture and planning responded more to grown-ups whilst children's needs and their engagement at a museum experience were never considered (see Macdonald, 1996: 2; Fyfe, 2006:5). Museums are at a very exciting juncture in their history and this study has examined these intricate relationships both internationally and locally. The findings is that museums, especially in some developing nations like South Africa have been rather slow to keep abreast with new emerging trends which focus on child education and how children learn in and from museums. This study puts forward the notion of a new museum archetype for Durban, a Children's Museum, re-interpreting conventional ideas of museums to one which places children and the community at the centre instead of the artifacts. In other words "museums are about somebody rather than about something" (Cleaver, 1992:21). Without a doubt children learn through play (Harris et al, 2003). Children view their spatial and social environments as a playground of knowledge, a place to see, touch, feel, taste, listen to, socialize with and learn from. They see the big world very differently as compared to adults and attach and take different meanings and experiences from and to people, to forms, places, spaces and things. Very important is the symbiotic relationship between children and the natural environment. Nature provides children with countless of natural toys interesting textures in the form of stones, leaves and twigs and sensory stimuli in sounds and sensations. This means that the way children learn through play the methods of facilitating this process and the built and natural environments where learning may take place needs to be interconnected. The position taken in responding through design is that there needs to be a holistic approach in responding to the social, cognitive and multi-intelligences in the development of children. This then suggests that the architecture and the landscape need to be integrated. Considering the close knit relationship children have with nature, the concept for the design of the museum draws from traditional African culture and spatial planning. The concept is based on the idea of PALAVER which in African culture is a traditional place of gathering in the shade of a prominent tree canopy somewhere in the village where villagers get to be heard, where they are able to express themselves freely without prejudice on life and on village problems. The design concept builds on this idea drawing from context interpreting this idea of a Palaver Tree to mean a roof of a building under which freedom of expression and exchange of ideas can take place. Hence the form of the building draws on clues from the majestic baobab of Africa, the elegance of the tenere tree and the qualities of a forest canopy. Considering the close link between children and nature and the ways in which children learn from the environment, teaching children about saving the planet, the symbolic imagery and qualities of a tree is an appropriate response in creating a place meant for kids. Moreover, the changing qualities of light through the leaves of trees are a subtle but most effective sensory experience which the design of the new children's museum tries to emulate. In parts of Africa, unlike western ideologies the museum is richly connected to the people and to the communities in which they exist. In fact it’s safe to say that the museum experience was part of everyday life. / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2009.

The study conducted was An Appreciative Inquiry approach into the post-merger Campbell Collections at UKZN. The study was meant to explore and discover the value of the Campbell Collections in the new merged institution, which is the University of KwaZulu- Natal. The study was appreciative in nature, and it took the complete interconnected elements that affect the system into consideration. Every year since 2004, when the University of Natal and the University of Durban Westville were officially declared as merged, there have been various changes that took place. The merger is one huge change project that the universities engaged in. Thus the concepts ‘merger’ and ‘change’ were used inter-changeably in the study. The background on the merger was brought into perspective, and an in-depth literature review on Appreciative Inquiry was conducted. Appreciative Inquiry (AI) introduced to the study a research perspective that was very different in focus from more traditional approaches. AI is a highly participative, systemwide approach that seeks to identify and enhance the life-giving forces. It concentrates on things we want to increase to add value, and it is a radical approach to understanding the social world. It concentrates on exploring ideas that people have about what is valuable in what they do and then tries to work out ways in which this can be built on. The emphasis is strong on appreciating the activities and responses of people, rather than focusing on their problems. Appreciative Inquiry is declared to be a strong pillar of research which looks to build a productive link between people and the substance of what they talk about as past and present capacities. In general AI studies are carried out through the use of 4-D Cycles. The 4-Ds represent: discovery; dream; design and destiny. This study was conducted through the application of only two Ds which are discovery and dream phases. The questions used in data gathering were crafted based on affirmative topics to meet the principles of AI. The interview technique was employed and carried out in the form of individual/one-one interviews as well as through focus groups. All Campbell Collections’ staff members were invited to participate in the study, and a few former staff members were also part of the study. The strategic decisions made about whom to invite to take part in a study were based on their experience, familiarity, and understanding of Campbell Collections and the merger. The study findings revealed the strengths and value of Campbell Collections as well as the impact of the merger, mainly in terms of decisions taken at the University’s executive level. One limitation of the study was that it was bound to Campbell Collections; therefore, the information generated could not be generalised and remained specific to the particular case studied. However, the same research can be studied further to evaluate the entire postmerger system of the University. / Thesis (M.Com.)-University of KwaZulu-Natal, Westville, 2010.

Heritage and culture are invaluable assets whereby human beings can define themselves. Through the careful preservation of past and heritage, people have a reference point in which to define their belonging; a lineage that traces their being. However, heritage and the elements that make up a place's identity are often not preserved. The question posed in this dissertation asks what becomes of a space when it's particular heritage and history falls into a state of decay? Why is it necessary to try to preserve the elements that define the very foundations of a place? Furthermore, it is asked what can be done, in terms of an architectural intervention, to rectify this issue. Architecture has a role far beyond the necessity of basic shelter. It defines a framework in which human activity occurs. It encompasses something greater than the functional and its vast impact on the physical, emotional and psychological aspects of its users should not be overlooked; especially when the architecture has a way of harking back to a past memory and time. This dissertation looks into an appropriate response to architectural design that merges the significance of the past, the inherent culture of a collective society, the defining characteristics of place, setting and climatic elements and built form that captures the essence in an architectural celebration. The research culminates in an analysis of a revival and rejuvenation approach to architecture in the local context of KwaZulu-Natal. Conclusions are drawn from the research carried out through conducting interviews, a review of literature and analysis of case studies and precedent studies. The outcome of this dissertation is a set of recommendations, principles and an understanding of the criteria necessary to inform the design of A Proposed New Museum in Port Shepstone. There is nothing better than that a man should rejoice in his own works, for that is his heritage - Ecclesiastes 3:22 / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2012.

This dissertation critically evaluates the intersections of tourism, heritage conservation, and visual communication by exploring the display materials and Museology within the Didima Rock Art Centre, at Cathedral Peak, southern Drakensberg, KwaZulu-Natal. The text consists of three chapters. The first chapter introduces rock art and current research and conservation concerns in relation to heritage and rock art. The second chapter serves as an introduction to the Didima Rock Art Centre. A discussion raises important issues about visual communication in regard to the representation of the Southern San and rock art as material culture both in this museum context. Chapter three investigates and analyses the museum practices that have been used as a visual communication within the Centre by discussing methods that have been used in the museum and its auditorium. A conclusion follows that summarizes the candidate's findings regarding museum display within the Centre, and its impact on tourism and heritage conservation in relation to the Southern San and rock art. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.