This dissertation consists of two components. Firstly, a documentation of the production of Zulu beer ceramics by the Magwaza potters of Mpabelane, using the medium of documentary film; secondly, a written consideration of issues of representation, in relation to the documentary film, regarding the ceramists and the ceramics. In October 1994 I stayed with the Magwaza family for 5 days. During this time 12 of the Magwaza women produced vessels. They were Khulumeleni Magwaza, Shongaziphi Magwaza, Thandiwe Magwaza, Bonisiwe Magwaza, Esther (also called Buyaphi) Magwaza, Sholoni Magwaza, Buzephi Magwaza, Sindisiwe Magwaza, Mkoso Magwaza, Thuleleni Magwaza, Konzeni Magwaza, Qikiza Magwaza and Mancani Magwaza. The vessels were produced over four days. The potters each individually produced a vessel using the coiling method. On the first day the vessels were formed using the coiling method. Decoration was done on the second day. The vessels were decorated with either scraffito or applied amasumpa (little nodes or warts), or a combination of both methods. On the third day fat (vegetable oil or soap) was applied to the vessels and they were burnished with river stones. At sunrise of the forth day the vessels were fired. Dried aloe was packed below and around the vessels. A small pile of dried grass was packed on top of the aloe kiln. This was lit and the flames spread from the top down, burning for 25 minutes. After this the pots were blackened by various means. This process was filmed and edited. A year after the filming an interview was conducted with Khulumeleni, Shongaziphi and Thandiwe Magwaza to clarify some of the production methods that they used. The paper considers issues of representation prior to filming and editing the documentary, as well as post-production considerations of these same issues. The pre-production consideration section is based on various extracts from texts on representation, particularly of a cultural other. The postproduction analysis reconsiders these notions of representation in the light of what occurred during filming and editing. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.

The Jurassic Rooi Rand dolerite dyke swarm was emplaced sub-parallel to the Lebombo Monocline during the initial stages of Gondwana breakup. The dykes extend northwards from the southern Lebombo region in northern KwaZulu-Natal, into central Swaziland, spanning a distance of approximately 200 kilometres with a width between 10 and 22 kilometres. Detailed mapping of a 600m-Iong section on the Pongolo River, established at least eleven phases of intrusion. Each dyke age was systematically sampled and analysed for whole-rock major, trace and rare earth element composition, as well as mineral chemistry. Selected samples were analysed for stable isotopes. In addition to notable intra-dyke chemical variations, there is also a high degree of inter-dyke mineralogical and geochemical variation, each dyke age bearing distinct geochemical characteristics. The apparent geochemical trend is not one of simple fractionation with time. Dyke chemistries are closely linked to magma genesis and magma volumes with time. Evolution of the magmas may be described in terms of varying degrees of partial melting and fractional crystallization, with a small degree of crustal contamination. Major, trace and rare earth element data indicate a lithospheric mantle source for the majority of dyke phases, and an asthenospheric source for only two of the eleven ages. Contrary to this, isotopic data (oxygen and radiogenic) indicate an enriched asthenospheric source for all the dolerites. This suggests that all ages may have originally been derived from the asthenosphere, with the majority of ages being intruded into the lithospheric mantle to later undergo partial melting and fractional crystallization, with some contamination. Previous studies assumed an asthenospheric source with depleted MORB-like rare earth element profiles to be representative for the majority of Rooi Rand dolerites. The Rooi Rand dolerites appear to display a geochemical link with the southern Sabie River Basalt Formation, as well as the Lebombo rhyolites. Magmatic evolution of the dykes was intimately linked to the initial rifting processes of lithospheric stretching and asthenospheric upwelling, which in this case concluded in a classic failed rift situation. / Thesis (M.Sc.)-University of Natal, 1996.

The thesis will focus on documenting, analysing and interpreting the motifs for the ceramics of Rorke’s Drift Art and Craft Centre Ecumenical (Evangelical) Lutheran Church (RDACC ELC, often called ELC Art and Craft Centre, hereinafter referred to as ‘Rorke’s Drift’) which were donated to the University of KwaZulu-Natal by Mark Bernstein. It is hoped that local indigenous narratives and visual designs in relation to Basotho and Zulu cultural identity will be outlined in the form of a catalogue. All vessel forms in the Bernstein Collection (as it will be referred to in this thesis) will focus on the figurative works and iconographic signifiers that represent local cultures. Ceramic works by the following ceramists will form the main argument of my thesis: Gordon Mbatha, Dinah Molefe, Ivy Molefe, Ephraim Ziqubu, Lindumusa Mabaso and Joel Sibisi of the Pottery Workshop. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.