The focus in this project is on the analysis of empirical evidence collected from the #Khomani and Ngwatle communities relating to representation, theories of reflexivity and research methodology, as well as responses to The Healing Land (2001) by Rupert Isaacson, in relation to research methodology, representation and ethical concerns. This project will examine if and how research can be beneficial to the San, and interrogate whether auto-ethnography/reflexivity as research methodology can be used as a way of representing indigenous people in ways that empower them. Films and books often give little indication of how, by whom and for what reasons they were produced, which imposes limitation on the knowledge gained by the reader/viewer. Reflexivity is a methodology that incorporates the producer and the production process into the final product. Reflexivity directs attention to the' process and the power relations involved in constructing cultural texts. Representation of the San Bushmen has had a long history of othering, of perpetuating colonial domination. The "Other is never simply given, never just found or encountered, but made" (Fabian, 1990:755). The application of reflexive methodology could have the potential to undo the perceptions and stereotypes projected by unidimensional films, writing and pop-anthropology which give no indication of/attempt to disguise the relationship between producer, process, product and viewer in the representation of indigenous people. Awareness of the interaction between observer and observed also leads to consideration of ethics, power relations and responsibility of academics and filmmakers towards their subjects. This project discusses encounters in the Kalahari in relation to research methodology, auto-ethnography and representation. The primary text critiqued is Rupert Isaacson's book The Healing Land (2001). The application of reflexivity to my own project incorporates discussion of methodology, the nature of the encounter, and negotiating my own subjectivities. "To be reflexive is to structure a product in such a way that the audience assumes that the producer, the process of making, and the product are a coherent whole. Not only is an audience aware of these relationships, but they are made to realise the necessity of that knowledge" (Ruby, 1977:4). Unrealistic and disempowering representation of the San is related to their political and social marginalisation. This also relates to the issue of responsibility of researchers to the subject communities which are their sources of images and information. The subject communities have certain expectations of academics and filmmakers. If these expectations are not met or fulfilled in some way, the local informants tend to feel that they are being exploited. The San often have unrealistic expectations and are unaware of the differences between profit-making films and research; financial constraints on academics, writers and filmmakers; and the processes by which policy is implemented that prevent their hunger and thirst being immediately alleviated (Tomaselli, 2001a). I attempt to test these kinds of assertions and examine whether there are instances where the San feel that they have benefited from and are satisfied by the encounter, and how the principles allowing for a mutually beneficial encounter can be developed. Thus this project will deal with empowerment and development for the San. / Thesis (M.A.)-University of Natal, Durban, 2003.

Thesis (Higher Certificate in Librarianship)--University of Cape Town, 1962. / Includes index.

Thesis (Higher Certificate in Librarianship)--University of Cape Town, 1962. / Includes index.

Undergraduate honors paper--Mount Holyoke College, 2009. Dept. of History. / Includes bibliographical references (leaves 147-163).

Thesis (M.A. (Anthropology)) - Rhodes University, 2005.

Thesis (M.A. (Environmental Science))--Rhodes University, 2006.

Thesis (MA (History))--University of Stellenbosch, 1945. / Wat betref die oorsprong van die Hottentot as ras, en hul woongebied voordat hul na die Suidelike deel van Afrika verhuis het, was tot onlangs baie min bekend. Die oorsaak hiervoor moet eerstens gesoek word in die feit dat by hierdie mense, met hul uiters lae kultuurpeil, daar geen doeltreffende begrip van tydrekenkunde bestaan het nie, en dat hulle nie oor die nodige middele beskik het om die oorlewering van die voorgeslagte te bewaar nie. ...

mnesty International (2009:1) reports that despite some progress over the last decade, indigenous peoples around the world continue to live in hardship and danger. This is due to the failure of states to uphold their fundamental human rights. The persecution of minorities by intolerant majorities is still a major cause of international unrest in various parts of the world (Sohn, 1981: 272). Against this backdrop, this study set out to investigate the extent to which the rights of the Basarwa in Botswana are promoted and protected by the government. Methods of data collection included questionnaire, interviews, books, journal articles and internet publications. The study found out that the government of Botswana does not promote and protect the rights of the Basarwa in Botswana. They are instead being considered as a primitive and backward people and hence, a developmental problem by the government of Botswana. Other violations of their rights include: non-recognition as the indigenous people of Botswana, derogatory names-calling, forced land evictions and other forms of social and economic exclusion. The study recommends the following: The need for the government of Botswana to recognise the Basarwa as a distinct and unique ethnic group in the country; the need for dialogue between the Basarwa, the government of Botswana and NGOs; the need for the government of Botswana to ameliorate the quality and accessibility of social services for the Basarwa, particularly in the areas of health and education; and the need for both the public and private sectors alike to provide the necessary skills for employment of the Basarwa.

Bibliography: pages 180-207. / Gender studies in various disciplines, particularly anthropology, have shown that the opposition of masculine : feminine is commonly used to structure other cultural contrasts, and that the representation of this opposition in cultural products is in turn implicated in the cultural construction of gender content. This bidirectional problematic, supplementing the more limited critique of gender 'bias' and masculinist models, is the focus of this research into archaeological materials. Rock art is the principal archaeological 'trace' analysed. Because the impetus to gender studies comes principally from the critical standpoint of feminism, analyses of gender and gendering in archaeological materials are evaluated in the context of gender issues in the present day, in terms of archaeological 'reconstructions' as legitimising the existing gender order. Theoretical influences include feminism, hermeneutics, marxism, (post)- structuralism, semiotics, and discourse theory. Aspects of language, and, particularly, the oral narratives of various San groups - the /Xam, G /wi, !Kung, Nharo, and others - are examined in order to establish the way in which masculinity and femininity are/have been conceptualised and differentiated by San peoples. This is followed by an assessment of the manner of and extent to which the masculine: feminine opposition informs narrative content and structure. The analysis of language texts permits an approach to the representation of this opposition in non-language cultural texts (such as visual art, space). Particular constructions of masculinity and femininity, and a number of gendered contrasts (pertaining to form, orientation, time, number, quality) are identified. Gender symbolism is linked to the themes of rain and fertility/ continuity, and analysed in political terms, according to the feminist materialist contention that, in non-class societies, gender opposition is potentially the impetus to social change. Gender(ing) is more fundamental to San cultural texts than has been, recognised, being present in a range of beliefs which are linked by their gender symbolism. I utilise a 'fertility hypothesis', derived from a reading of the ethnographies, in order to explain various elements of Southern African rock art, Well-preserved (thus relatively recent) paintings, principally from sites in the Drakensberg and south-western Cape, were selected. Features interpreted via this hypothesis include: images of humans, the motif of the thin red line fringed with white dots, 'elephants in boxes', therianthropic figures, and 'androgynous' figures, including the eland. The spatial organisation of the art, the significance of non-realistic perspectives, and the problem of the numerical male dominance of the art are also interpreted from this standpoint. The analysis permits critique, of the theorisation of gender and ideology in rock art studies, and of the biophysical determinism implicit in current rock art studies, in which attempts are made to explain many features of the art by reference to trance states, altered consciousness and neurophysiological constitution. Rain, rather than trance, is proposed as the central element of San ritual/religious practices. Finally, the treatment of (or failure to consider) gender(ing) in the archaeological record is situated in relatio.n to contemporary gender ideologies, in the contexts of archaeological theory and practice.

More than any other people, the Bushmen - like the Aborigines on the Australian continent - have epitomized the sub-human other in South African historiography. My primary concern in this study will be to interrogate the representations that gave rise to such entrenched notions of Bushman alterity, and the consequences these have had for Bushman lives. Through an assessment of the writings of nineteenth- and early twentieth-century travellers, missionaries, settlers, colonial officials and scholars, I shall examine understandings of ‘otherness’ and ‘difference’, and the ways in which alterity discourse opened up a space for the ensuing colonial policies of genocide and subjugation against the Bushmen. By allowing the Bushman ‘voices’ to talk back - through an exploration of verbal and visual forms of Bushman creative expression - I hope to present a more balanced sense of Bushman ‘identity’, and expose the fundamental intolerance of difference that lies at the heart of alterity discourse. I shall conclude the thesis with a problematization of contemporary trends of representation, an examination of how these often inadvertently continue the process of othering, and a consideration of their repercussions for present-day Bushman lives. Aside from the obvious relevance of such a study to an understanding of both the destructive events and representations of history, and the current traumatic circumstances of Bushman lives, the questions that this thesis raises can be seen to have more far-reaching implications. In a country such as South Africa, with its long history of segregation and discrimination, issues of otherness and difference take on a particularly compelling resonance. It seems crucial - especially at this point in our national progress - to interrogate our historical attitudes towards otherness, and posit more constructive ways of approaching difference, that allow others their distinct identity, without either demonizing or collapsing such difference; or, to phrase it in Homi Bhabha’s question: “How can the human world live its difference? how [sic] can a human being live Other-wise?” (1994:122). / Thesis (M.A.)-University of Natal, Durban, 1998.