M.A. / Please refer to full text to view abstract

M.A. / The purpose of this study is to analyse the nature of the relationship between politics and art in South Africa during the period 1960 to 1996. The discussion is limited to the performing arts, which includes music, theatre, musicals and dance. The relationship between art and politics in South Africa manifested in two ways. Firstly, art was used to convey a specific political message and secondly, it served as an external political instrument with which the international community forced South Africa to put an end to apartheid. The latter was achieved by enforcing sanctions which included the cultural boycott. This study states clearly that art cannot be separated from society and constitutes that art is an important element sociologically speaking. It can thus be influenced by society and it can influence society in many ways. The artist, as a member of society, produce his/her art in accordance to his/her experience of a certain society. The artwork is therefore an "image" of society, because it reflects the artists' perspective of society. There is a relationship between art and politics in South Africa, because both the white and the black South Africans used art to create their own identity. Through art they could form a solidarity, and in the long run they could either sustain or gain political power. The whites wanted to sustain their power and therefore used the arts and art structures as a vehicle to maintain their Western(white) values. The blacks wanted to gain political power and, through the black consciousness movement and their anti-apartheid campaigns, they strove to gain political power. Art was therefore not only used by the blacks as a political weapon against the white apartheid regime, but also by the international community as a means to punish South Africa for the violation of human rights.

South Africa is a nation that was born from a struggle that can be said to have turned racial divisions and discrimination into a diversity of heritages. Thus, contemporary South Africa has become a country recreated in such a way that its people are able to embrace diversity freely. This research study aimed to provide insights into South Africa’s diversity in culture and linguistics that were moulded into a single song, the South African National Anthem. The research study aimed to determine the selected sample’s (Nelson Mandela Metropolitan University Staff and Students) responses to the representation of the South African National Anthem based on two specific performances. The research study aimed to determine how the two online videos affected the perceptions of NMMU Staff and Students of the South African National Anthem and South Africa as a brand. The research study aimed to determine how the two performances of the South African National Anthem under study were received by Staff and Students at NMMU. The study also aimed to highlight the similarities and differences in the sample’s responses, based on this reception. The selected YouTube videos under study are: SA anthem destroyed URL: http://www.youtube.com/watch?v=beg0-kMN3fM Ard Matthews ruins the SA national anthem URL: http://www.youtube.com/watch?v=fu6IG0Wx19w. An electronic questionnaire with both closed and open-ended questions was used to draw a conclusion regarding the selected sample’s perceptions of the South African National Anthem. Following the questionnaire results, a rhetoric analysis of the sample’s questionnaire responses was conducted. This text analysis and interpretation was conducted to gain insight into themes that were labelled based on the questionnaire responses, thus affecting perceptions of the sample and determining whether the South African National Anthem was perceived as a tool for division or unification.

This dissertation seeks to explore how the exercise of political power and the music industry impacted each other in South Africa under apartheid during the 1980s. It does so by looking firstly at the ways in which the South African government used music to promote apartheid. Secondly, it looks at the role of South African popular musicians in the struggle against apartheid in the country, specifically their role in civil society and the methods they employed to fight apartheid while avoiding censorship. It looks at key musical developments of the decade and explores their political implications, focusing on three popular genres: bubblegum (or disco), crossover and reggae. Thirdly, it explores the role of South African music and musicians in the struggle against apartheid outside South Africa. Finally, it looks at the role of music in the international anti-apartheid movement and the contribution of the international music community to the struggle. / Political Sciences / M.A. (African Politics)

This dissertation seeks to explore how the exercise of political power and the music industry impacted each other in South Africa under apartheid during the 1980s. It does so by looking firstly at the ways in which the South African government used music to promote apartheid. Secondly, it looks at the role of South African popular musicians in the struggle against apartheid in the country, specifically their role in civil society and the methods they employed to fight apartheid while avoiding censorship. It looks at key musical developments of the decade and explores their political implications, focusing on three popular genres: bubblegum (or disco), crossover and reggae. Thirdly, it explores the role of South African music and musicians in the struggle against apartheid outside South Africa. Finally, it looks at the role of music in the international anti-apartheid movement and the contribution of the international music community to the struggle. / Political Sciences / M.A. (African Politics)

INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances. / INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik. / Anthropology and Archaeology / M.A. (Anthropology)

INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances. / INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik. / Anthropology and Archaeology / M.A. (Anthropology)