This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.

This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.

This master’s thesis discusses who Nora Helmer could be today in different parts of the world. With an idea for an modern adaptation of A doll house (with three Noras from different cultural perspectives) as a starting point the purpose is to research the following questions: Who Nora could be today, how Nora could be portrayed through different cultural perspectives, what similarities and differences there are, if anything in the play has to be changed to relate to a contemporary context and what the essence of Nora is. These questions are being explored through in-depth interviews with five different female actors in different continents: North America, Asia, Oceania, Africa and Europe. The actors thoughts are presented through different themes: Who Nora is, motherhood and marriage, Nora’s favourite color, the ideal woman and who Nora could be in their context today. The last part discusses the different versions of Nora, how a classical play can open up for conversations about current gender equality issues and how this material can be used in the continued work towards a stage production.

The purpose of this study is to explain the process of designing the architecture of StrangeSpaces, an itinerant festival for transcultural performing arts groups or artists which starts from the original idea and terminates with the description of a possible structure. The process of designing StrangeSpaces is based on an investigation on the transcultural performing art’s field and on conversations with experts, which together transformed the original general idea of a festival, into the specific architecture of the StrangeSpaces festival. The investigation resulted in a personal definition of ”transcultural performing arts”, that subsequently led to the identifications of three elements of transculturalism which define the festival’s goals as ”encounter with the other” in multiples and different yet equal levels. Another result of this investigation is the contextualization of StrangeSpaces in the contemporary international cultural politics. In fact, the transcultural encounter and exchange can be viewed as a possible response to the increasing need of sustainable international performing art in local, national and European cultural communities. The conversations with experts in the field of international performing arts complemented the investigation, contributing to the ideological principles of StrangeSpaces, such as anti-racism and anti-colonialism, as well as to a model of democratic and sustainable design, in which multilingualism and cosmopolitan aspects of the society are essential cues. The result of the study is a design of the architecture of three versions of StrangeSpaces, an itinerant transcultural performing arts festival that is born to be a space, a free place where people play, exchange roles, art, experience starting from their own culture, but reaching and reflecting into the other, mirroring a society of sustainable diversity.

La Escuela Superior de Artes Escénica, responde a la necesidad de una infraestructura para el desarrollo de los de los futuros artistas. Son tres las especialidades que conforman la facultad: Música, Teatro y Danza. Cada una requiere diferentes instalaciones especiales para su desarrollo. Sin olvidarnos que las tres son parte de una misma institución la cual promueve el aprendizaje donde las distintas carreras se complementan entre sí. / The School of Performing Arts responds to the need for an infrastructure for the development of future artists. There are three specialties that make up the school: Music, Theater and Dance. Each one requires different special facilities for its development. Without forgetting that all three are part of the same institution which promotes learning where the different careers complement each other. / Tesis

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Master of Architecture

The primary goal of the study was to standardise and validate a scale to measure the arts’ contribution of arts festivals. To achieve this goal, four objectives were formulated. First, to study arts’ contribution of arts festivals by defining, analysing and exploring related concepts through the provision of a detailed background and discussion on the topic by means of a literature review. Second, to study and select applicable explanatory theory that can be used to develop a standardised scale that measures the arts’ contribution of arts festivals by means of a second literature review. Third to determine the validity and reliability of the scale measuring the arts festival’s contribution to the performing arts and to the visual arts through an exploratory factor analysis and a confirmatory factor analysis. Lastly, to draw conclusions based on the research and make recommendations with regard to the standardisation and validation of the scale to measure the arts’ contribution of arts festivals. The first objective was achieved by conducting a literature study. The literature study on arts festivals and their contribution to the arts was explored by defining the term festival tourism; discussing aspects related to a festival (by defining a festival, explaining the festival’s relationship with culture and events, identifying the characteristics, types, benefits and potential problems associated with a festival, and identifying visitor motives for attending a festival); discussing aspects related to the term arts festival (by providing an overview of arts tourism, defining an arts festival, listing reasons for the establishment of an arts festival and discussing the arts present at arts festivals – through defining and classifying the arts); and identifying the contributions of an arts festival to the arts (by listing the types of contribution – educational, emotional, economic, quality, marketing, and growth and development – , discussing the purpose of contributing to the arts, listing perceptual differences of festival visitors regarding the contributions of an arts festival to the arts and discussing limitations of an arts festival to contribute to the arts). Achieving the second objective, the second literature study discussed the term survey (by defining a survey, identifying the types, characteristics, advantages, disadvantages and merits of a survey and discussing the survey process); discussed the term standardisation (by defining standardisation and stating the purpose for the standardisation of a measurement scale); discussed the standardisation process (by outlining the different stages in the standardisation process – the planning phase, where the aim of the measure is specified, the content is defined and the test plan is developed; the item writing phase, includes the writing and review of items; assembling and pre-testing the experimental version of the measure, which includes the arrangements of the items, finalisation of the length, protocols for answering, development of administration instructions and pre-test of the experimental version of the measure; the item and data analysis phase consists of the determination of discriminating power, preliminary investigation into item bias and the establishment of validity and reliability; and revising the final version of the measure, which encompasses the revision of the items and test, the selection of items for the final version of the test, the refinement of administration instructions and score procedures and the administration of the final version of the test); and identified and discussed ethical considerations, foreseen problems, limitations and recommendations associated with conducting a survey and the standardisation of a measurement scale. The third objective was to determine the validity and reliability of the measurement scale. This objective was achieved by discussing the implementation phase of the measurement scale where attention was given to the survey design and sampling. A stratified random sampling method was used at three selected arts festivals in South Africa, the KKNK, Innibos and Vryfees, where a descriptive survey design was administered in the form of a measurement scale, such as a questionnaire. Research assistants were trained and the scale was administered in a consistent fashion which supports internal reliability. The same survey procedures were undertaken at all three arts festivals, supporting face validity and internal validity. Representative samples were collected at the three arts festivals, also supporting external validity. Attention was also given to the measurement scale design (where respondents could give their perceptions concerning the contributions made by the arts festival to the arts through the completion of the questionnaire – which was based on literature and contained the relevant information to collect problem specific information, supporting content validity and construct validity. The scale had also undergone the delphi-technique for expert advice, supporting face validity. Providing a summary of the data analysis procedure contributed to the achievement of this objective. The data collected from the measurement scale have been captured in Microsoft™ Excel™ and analysed using the statistical software program, SPSS. The data of the arts festivals contributing to the performing arts were analysed separately from the data of the festivals where they contribute to the visual arts. This was done to get a detailed data analysis for the standardisation of the measurement scale. The split of the data also contributed to the measurement scale being divided in two separate standardised scales in determining the arts festival’s contribution to a specific form of the arts; both the data of the performing arts and the data of the visual arts had undergone the same statistical procedure for data analysis in determining the validity and reliability thereof. The results indicated that the measurement scale is a valid and reliable measure in determining the arts festival’s contribution to both the arts forms. To determine the validity of the measurement scale pertaining to the performing arts and to the visual arts, an exploratory principal axis factor analysis with Oblimin rotation was conducted on the combined data of Innibos and Vryfees (n = 982). Bartlett's Test of Sphericity was p < 0.001 and the Kaiser-Meyer- Olkin test of sample adequacy rendered a value between 0 and 1, indicating that the sample sizes were adequate to conduct an exploratory factor analysis on the data of the performing arts (KMO = 0.958) and on the data of the visual arts (KMO = 0.972); all items of the performing arts (22 items) and of the visual arts (22 items) loaded on a factor with loadings greater than 0.2. The factor analysis on the performing arts data extracted five factors. Factor 1 (Quality and Education Contribution) was defined by 5 items with a Cronbach’s α-value of 0.867 and an interitem correlation mean of 0.568. Factor 2 (Growth and Development Contribution) was defined by 6 items (Cronbach’s α = 0.896; inter-item correlation = 0.594). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.706; inter-item correlation = 0.440). Factor 4 (Economic Contribution) was defined by 4 items (Cronbach’s α = 0.824; inter-item correlation = 0.540). Factor 5 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.866; inter-item correlation = 0.617). The factor analysis on the visual arts data extracted four factors. Factor 1 (Education and Growth and Development Contribution) was defined by 8 items (Cronbach’s α = 0.947; inter-item correlation = 0.690). Factor 2 (Economic and Quality Contribution) was defined by 7 items (Cronbach’s α = 0.920; inter-item correlation = 0.622). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.828; inter-item correlation = 0.616). Factor 4 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.905; inter-item correlation of 0.704). There were correlations between factors of the performing arts and between the factors of the visual arts, where all correlations were 0.3 and larger, supporting construct validity. Further validity of the measurement scale was determined by a confirmatory factor analysis (CFA) on the performing arts data and on the visual arts data of KKNK (n = 602), where the path diagram confirmed the factor structures of both the performing arts and visual arts exploratory factor analyses, supporting criterion validity. CFA goodness-of-fit indexes were also used to determine whether the models fit with the data. The performing arts model and the visual arts model were found to have an adequate to good fit with the data of KKNK. The chi-square test of Independence (X2) for the performing arts rendered a value of p < 0.001 and for the visual arts was p < 0.001. The chi-square divided by the degrees of freedom (X2 / df) for the performing arts was 4.284 and for the visual arts was 4.9, the Comparative Fit Index (CFI) for the performing arts was 0.914 and for the visual arts was 0.931, and the Root Mean Square Error of Approximation (RMSEA) for the performing arts was 0.074 and for the visual arts was 0.079. To determine the reliability of the measurement scale, the Cronbach’s Alpha values and inter-item correlations between the factors were determined. All the factors of the performing arts rendered a high Cronbach’s Alpha value (greater than 0.7) and for the visual arts a value of 0.8. All the factors of the performing arts rendered a high interitem correlation value (greater than 0.4) and for the visual arts a value greater than 0.6. The final objective, to draw conclusions and make recommendations based on the results of the study, indicated that this study made a significant contribution to the literature and methodology of standardising a measurement scale and to the planning of arts festivals as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. Future research on this topic should be conducted at other arts festivals, including Englishlanguage arts festivals, to enable comparative studies to be made and supporting the test-retest reliability theory on the standardised measurement scale. It is also recommended that the study should measure contribution to the arts by other arts-related organisations, for example, at museums, theatres, and galleries, by administering the standardised scale to measure the contribution they make to their specific arts form. It is important to standardise a measurement scale for arts contribution to better understand the contributing factors of the arts festival to the arts which will assist festival managers in implementing strategies that ensure the livelihood and ongoing contribution of arts festivals to the arts. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2015

The primary goal of the study was to standardise and validate a scale to measure the arts’ contribution of arts festivals. To achieve this goal, four objectives were formulated. First, to study arts’ contribution of arts festivals by defining, analysing and exploring related concepts through the provision of a detailed background and discussion on the topic by means of a literature review. Second, to study and select applicable explanatory theory that can be used to develop a standardised scale that measures the arts’ contribution of arts festivals by means of a second literature review. Third to determine the validity and reliability of the scale measuring the arts festival’s contribution to the performing arts and to the visual arts through an exploratory factor analysis and a confirmatory factor analysis. Lastly, to draw conclusions based on the research and make recommendations with regard to the standardisation and validation of the scale to measure the arts’ contribution of arts festivals. The first objective was achieved by conducting a literature study. The literature study on arts festivals and their contribution to the arts was explored by defining the term festival tourism; discussing aspects related to a festival (by defining a festival, explaining the festival’s relationship with culture and events, identifying the characteristics, types, benefits and potential problems associated with a festival, and identifying visitor motives for attending a festival); discussing aspects related to the term arts festival (by providing an overview of arts tourism, defining an arts festival, listing reasons for the establishment of an arts festival and discussing the arts present at arts festivals – through defining and classifying the arts); and identifying the contributions of an arts festival to the arts (by listing the types of contribution – educational, emotional, economic, quality, marketing, and growth and development – , discussing the purpose of contributing to the arts, listing perceptual differences of festival visitors regarding the contributions of an arts festival to the arts and discussing limitations of an arts festival to contribute to the arts). Achieving the second objective, the second literature study discussed the term survey (by defining a survey, identifying the types, characteristics, advantages, disadvantages and merits of a survey and discussing the survey process); discussed the term standardisation (by defining standardisation and stating the purpose for the standardisation of a measurement scale); discussed the standardisation process (by outlining the different stages in the standardisation process – the planning phase, where the aim of the measure is specified, the content is defined and the test plan is developed; the item writing phase, includes the writing and review of items; assembling and pre-testing the experimental version of the measure, which includes the arrangements of the items, finalisation of the length, protocols for answering, development of administration instructions and pre-test of the experimental version of the measure; the item and data analysis phase consists of the determination of discriminating power, preliminary investigation into item bias and the establishment of validity and reliability; and revising the final version of the measure, which encompasses the revision of the items and test, the selection of items for the final version of the test, the refinement of administration instructions and score procedures and the administration of the final version of the test); and identified and discussed ethical considerations, foreseen problems, limitations and recommendations associated with conducting a survey and the standardisation of a measurement scale. The third objective was to determine the validity and reliability of the measurement scale. This objective was achieved by discussing the implementation phase of the measurement scale where attention was given to the survey design and sampling. A stratified random sampling method was used at three selected arts festivals in South Africa, the KKNK, Innibos and Vryfees, where a descriptive survey design was administered in the form of a measurement scale, such as a questionnaire. Research assistants were trained and the scale was administered in a consistent fashion which supports internal reliability. The same survey procedures were undertaken at all three arts festivals, supporting face validity and internal validity. Representative samples were collected at the three arts festivals, also supporting external validity. Attention was also given to the measurement scale design (where respondents could give their perceptions concerning the contributions made by the arts festival to the arts through the completion of the questionnaire – which was based on literature and contained the relevant information to collect problem specific information, supporting content validity and construct validity. The scale had also undergone the delphi-technique for expert advice, supporting face validity. Providing a summary of the data analysis procedure contributed to the achievement of this objective. The data collected from the measurement scale have been captured in Microsoft™ Excel™ and analysed using the statistical software program, SPSS. The data of the arts festivals contributing to the performing arts were analysed separately from the data of the festivals where they contribute to the visual arts. This was done to get a detailed data analysis for the standardisation of the measurement scale. The split of the data also contributed to the measurement scale being divided in two separate standardised scales in determining the arts festival’s contribution to a specific form of the arts; both the data of the performing arts and the data of the visual arts had undergone the same statistical procedure for data analysis in determining the validity and reliability thereof. The results indicated that the measurement scale is a valid and reliable measure in determining the arts festival’s contribution to both the arts forms. To determine the validity of the measurement scale pertaining to the performing arts and to the visual arts, an exploratory principal axis factor analysis with Oblimin rotation was conducted on the combined data of Innibos and Vryfees (n = 982). Bartlett's Test of Sphericity was p < 0.001 and the Kaiser-Meyer- Olkin test of sample adequacy rendered a value between 0 and 1, indicating that the sample sizes were adequate to conduct an exploratory factor analysis on the data of the performing arts (KMO = 0.958) and on the data of the visual arts (KMO = 0.972); all items of the performing arts (22 items) and of the visual arts (22 items) loaded on a factor with loadings greater than 0.2. The factor analysis on the performing arts data extracted five factors. Factor 1 (Quality and Education Contribution) was defined by 5 items with a Cronbach’s α-value of 0.867 and an interitem correlation mean of 0.568. Factor 2 (Growth and Development Contribution) was defined by 6 items (Cronbach’s α = 0.896; inter-item correlation = 0.594). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.706; inter-item correlation = 0.440). Factor 4 (Economic Contribution) was defined by 4 items (Cronbach’s α = 0.824; inter-item correlation = 0.540). Factor 5 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.866; inter-item correlation = 0.617). The factor analysis on the visual arts data extracted four factors. Factor 1 (Education and Growth and Development Contribution) was defined by 8 items (Cronbach’s α = 0.947; inter-item correlation = 0.690). Factor 2 (Economic and Quality Contribution) was defined by 7 items (Cronbach’s α = 0.920; inter-item correlation = 0.622). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.828; inter-item correlation = 0.616). Factor 4 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.905; inter-item correlation of 0.704). There were correlations between factors of the performing arts and between the factors of the visual arts, where all correlations were 0.3 and larger, supporting construct validity. Further validity of the measurement scale was determined by a confirmatory factor analysis (CFA) on the performing arts data and on the visual arts data of KKNK (n = 602), where the path diagram confirmed the factor structures of both the performing arts and visual arts exploratory factor analyses, supporting criterion validity. CFA goodness-of-fit indexes were also used to determine whether the models fit with the data. The performing arts model and the visual arts model were found to have an adequate to good fit with the data of KKNK. The chi-square test of Independence (X2) for the performing arts rendered a value of p < 0.001 and for the visual arts was p < 0.001. The chi-square divided by the degrees of freedom (X2 / df) for the performing arts was 4.284 and for the visual arts was 4.9, the Comparative Fit Index (CFI) for the performing arts was 0.914 and for the visual arts was 0.931, and the Root Mean Square Error of Approximation (RMSEA) for the performing arts was 0.074 and for the visual arts was 0.079. To determine the reliability of the measurement scale, the Cronbach’s Alpha values and inter-item correlations between the factors were determined. All the factors of the performing arts rendered a high Cronbach’s Alpha value (greater than 0.7) and for the visual arts a value of 0.8. All the factors of the performing arts rendered a high interitem correlation value (greater than 0.4) and for the visual arts a value greater than 0.6. The final objective, to draw conclusions and make recommendations based on the results of the study, indicated that this study made a significant contribution to the literature and methodology of standardising a measurement scale and to the planning of arts festivals as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. Future research on this topic should be conducted at other arts festivals, including Englishlanguage arts festivals, to enable comparative studies to be made and supporting the test-retest reliability theory on the standardised measurement scale. It is also recommended that the study should measure contribution to the arts by other arts-related organisations, for example, at museums, theatres, and galleries, by administering the standardised scale to measure the contribution they make to their specific arts form. It is important to standardise a measurement scale for arts contribution to better understand the contributing factors of the arts festival to the arts which will assist festival managers in implementing strategies that ensure the livelihood and ongoing contribution of arts festivals to the arts. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2015