This thesis is an ethnography of Rastafari childhood in the former Cape Province, South Africa, through the eyes of both parents and children. If children are a ‘muted group’, then what are the identity formation implications for “double-muted” groups, the children of ethnic minorities whose voices are not heard? Rasta parents’ experience of the struggle, ie. the opposition to apartheid, has shaped the Rastafari chant of ‘equal rights’ and ‘justice’ into a distinctly South African form of protest and resistance. Their childhood experiences have resulted in a desire to provide a better life for their children, using Rastafari as a vehicle. This is expressed in a continuation of the struggle that was started during apartheid, in the Rasta ideology children grow up learning. The Rasta child has become a contested body in this struggle. The South African Government, through policy, has a mandate to protect the child, and legislature exists to do so in accordance with international law. However, as child-raising differs phenomenally from culture to culture, these goals on the part of the State start infringing upon the rights and freedoms of minorities to raise their children according to their own cultural goals. This study examines the tension between Rastafari and government with regards to child raising, specifically looking at the following main points of contestation: public health, public schools and policy/legislation; in order to examine how Rasta children negotiate their identity in the face of these conflicting messages and struggles. Their identity can be influenced by three main groups, the Rasta family they grow up in; school; and multi-media. What these children choose to accept or reject in their worldview is moderated by their own agency. This study shows that this tension results in a new generation of Rastafari children, who are strongly grounded in an identity as Rastafari and take pride in this identity. It also illustrates how Rastafari are impacting on and changing government policy through resistance. Their successes in challenging the state on the grounds of multiculturalism and religious freedom, has helped in the attainment of a sense of dignity.

MAAS / Department of of Music

PhD (Xitsonga) / Xikolo xa Tisayense laswa Vanhu na Mahanyelo / Ndzavisiso lowu wu thyiwile Nxopaxopo wa Nkoka wa Tinsimu ta Thomas Hasani Chauke eka ku Tlakusa na ku Hluvukisa Xitsonga na Ndhavuko wa Vatsonga (An Analysis of the Role of Thomas Hasani Chauke’s Songs in the Development and Promotion of Xitsonga and Vatsonga Culture). Xikongomelonkulu xa ndzavisiso lowu i ku xopaxopa vuyimbeleri bya Thomas Hasani Chauke byi wu tirheke hakona ku ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga hakona. Hi lembe ra 1996 Vumbiwa bya tiko lebyi byi hlohlotelaka leswaku tindzimi hinkwato ta khumen’we ta ximfumo ti fanele ku khomiwa ku ringana byi pasisiwile. Kambe loko hi xiya hi kuma leswaku tindzimi ta Vantima ta ha ri eka xiyimo xa le hansi swinene. Huvo ya Pan South African Language Board (PanSALB) leyi simekiweke ku ringeta ku tlakusa na ku vona leswaku tindzimi hinkwato ta ximfumo ta hluvuka yi kuma swisolo eka vanhu lava pumbaka leswaku ntirho wa vona wu famba hi rivilo ra rimpfana. Leswi swi endle leswaku van’watindzimi va sungula njhekanjhekisano wo lava tindlela to vona leswaku tindzimi ta Vantima ta hluvukisiwa. Eka Xitsonga, muyimbeleri wo fana na Thomas Hasani Chauke u le ku tlangeni ka xiave xikulu eka ku hluvukisa na ku tirhisa Xitsonga na ku tlakusa ndhavuko wa Vatsonga hi vuyimbeleri byakwe. Ndzavisiso ku ya hi nkoka hi wona wu nga ta tirhisiwa eka xitsalwana lexi. Tinsimu to hambanahambana leti eka nandzelelo wa yena wa Shimatsatsa leti kandziyisiweke ku suka hi 1980 ku fika hi 2014 ti ta xopaxopiwa hi ku tirhisa thiyori yo xopaxopa. Ndzavisiso lowu wu kumile leswaku Thomas Hasani Chauke u tlanga xiave xikulu swinene eka ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga. Matirhiselo ya yena ya ririmi na mikongomelo leyi a yimbelelaka hi yona hi swona swi nga ta kombisa mhaka leyi.

The first indentured Indians arrived in South Africa in 1860. Their importation was a consequence of the British, who wanted cheap labour from their colony, India, to serve the Empire’s needs in South Africa. Several of these Indians, upon completion of their term of their indenture, chose South Africa as their new ‘motherland’. They settled in Durban and its surroundings with some migrating inland. Consequently, the largest community of Indians in South Africa is still located in the Durban area. Indian communities globally show clear socio-economic development coupled with a strong association to religion and worship. The South African Indian diaspora is no different. Religion is deeply embedded in the fabric of this community. Rooted within most Indian religious practices are strong ties with music. The immigrants who arrived in South Africa shared common religious associations with India, the major religions being Hinduism, Islam and Christianity. Christianity in South Africa includes established and mainline church denominations such as Roman Catholic, Anglican, Methodist, Baptist, Presbyterian, Lutheran and Pentecostal movement. The Pentecostal movement includes the Full Gospel Church of God, Assemblies of God and Apostolic Faith Missions. Music, a subsidiary to worship within the Pentecostal church movement, provides certain unique dimensions to the religious service as opposed to the traditional repertoire and instrumentation (hymns being sung with organ accompaniment) of the mainline churches. To date, little is known about the music education, performance practice and music praxis in these churches. The lack of data on the latter provides the basis for this current investigation into Church Music praxis within the Pentecostal movement. A mixed method research approach which integrates both the qualitative as well as quantitative is adopted for this study. This approach allows for greater insight into the target population and their phenomena. The qualitative phase which consisted of informal structured interviews and a review of literature, provided in-depth knowledge and thematic data that informed the quantitative phase. The sample population used in the quantitative phase draws on six of the largest churches in the predominantly Indian areas of Durban. A questionnaire was developed specifically for this study, submitted for review to an expert, and administered to the sampled population. The results were coded and entered into a statistics database (SPSS) for analysis. Findings suggest that there is a unique stylistic development and performance tradition within these churches. Results reveal that the majority of Pentecostal church musicians in the Durban area have no formal training in music, yet are able to function as musicians within their congregations. Many musicians indicated their inability to read music as their greatest challenge. Consequently, this led to a great deal of time being spent on learning music. In almost all of the latter cases this occurred either autodidactally, communally and/or simply aurally. Musicians also indicated that financial difficulties were a setback, in that several were unable to purchase instruments and the necessary equipment to engage with their core music functions within the church. Many relied heavily on church support to assist with this need. These musicians possess an ability to perform technically and musically challenging music repertoire that demands advanced music skills and knowledge. This phenomenon attests to the power of informal music education. Many of these musicians go on to pursue successful careers as musicians and music educators. / Art History, Visual Arts and Musicology / D. Litt. et Phil.

The use of methylenedioxymethamphetamine (MDMA) or Ecstasy is a phenomenon that has established itself in the widespread Rave culture. Ecstasy use causes not only physical, social and psychological problems in the development of the adolescent but may also influence his concentration and learning abilities. To prevent these problems educators should be well informed regarding current drug use trends and also be capable of assisting adolescents. Research regarding the nature of Ecstasy use and the characteristics of its users is lacking nationally. The increase in use amongst school going adolescents and young adults and the fact that there are side effects and unknown long term effects has made it imperative that educators learn as much as possible about this drug. The purpose of this research is therefore to furnish the educator with accurate information that will enable him to obtain a reference point from which assistance can be offered to the young Ecstasy user. / Psychology of Education / M.Ed.(Guidance and Counselling)

The use of methylenedioxymethamphetamine (MDMA) or Ecstasy is a phenomenon that has established itself in the widespread Rave culture. Ecstasy use causes not only physical, social and psychological problems in the development of the adolescent but may also influence his concentration and learning abilities. To prevent these problems educators should be well informed regarding current drug use trends and also be capable of assisting adolescents. Research regarding the nature of Ecstasy use and the characteristics of its users is lacking nationally. The increase in use amongst school going adolescents and young adults and the fact that there are side effects and unknown long term effects has made it imperative that educators learn as much as possible about this drug. The purpose of this research is therefore to furnish the educator with accurate information that will enable him to obtain a reference point from which assistance can be offered to the young Ecstasy user. / Psychology of Education / M.Ed.(Guidance and Counselling)

Text in Afrikaans / Hierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le. / This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective. / Art History, Visual Arts & Musicology / M. Mus.

Text in English / This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another. / Art History, Visual Arts and Musicology / M.Mus.

Text in English / The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase. / Linguistics and Modern Languages / D. Phil. (Languages, Linguistics and Literature)

This work is concerned with an analysis of the copyright protection of musical works. Musical works form part of the categories of works protected under copyright law. It would be easy to dismiss musical works as not warranting a serious study, as would for example, be warranted for “industrial property” rights such as patents and geographical indicators, or more “serious” copyrights such as architectural works and computer software. Such a perspective would however, not be cognisant of the significant contribution that the music industry, as part of the broader cultural and creative industries makes to the global economy. It has, for example, been shown that in 2013, the global cultural and creative industries contributed some US$2,250b, employing some 29,5 million people, with the music industry being one of the top three employers and with its revenues exceeding those of radio.1 A single successful musician can earn in excess of US$100m per annum,2 making the industry ripe for litigious claims. For this reason therefore a consideration of the legal rules that apply to the protection of musical works is crucial. There is currently no clear exposition and systematic analysis of the legal principles applicable to the field of music copyright and no work devoted to the in-depth delineation of the rights and sub-rights relating to musical copyright protection. This study seeks to address this research and knowledge gap by providing a historical and contextual analysis of the protection of musical works. The aim is to provide a complete picture of the milieu of music copyright protection to enable the reader to feel empowered in dealing with the subject-matter. This the writer does by mapping the historical development of music copyright protection in particular from eighteenth century England when the first copyright legislation was enacted, until the enactment of the British Copyright Act of 1911, which signalled the emergence of the “common law” copyright system. The writer then shows how this enactment shaped the development of modern music copyright law, and concludes by presenting a contextual consideration of the current South African law of music copyright and highlighting the challenges it is faced with. / Mercantile Law / LL. D.