This study investigated the survival strategies adopted by the San in Cunene Province in Southern Angola. The study intended first to gain understanding of the economic activities that the San in Cuanhama municipality districts of Kafima Centre and Etale La Mulovi employ to sustain their livelihoods. Secondly, the study explored how accessible the basic social services of education and health were to the San in these communities. Utilising qualitative research methods, face-to-face interviews and focus group research were conducted. From the data collected on education the study findings show that none of the children from both communities were enrolled at any school. To this end, at Kafima Centre the main hindering factors that contributed inter alia included hunger at school, stigmatization by the neighbouring community and poverty among San communities. At Etale La Mulavi San community there was lack of educational facilities near the San habitations, constituting a key hindering factor to accessing education. On health, the closer the public health centre was to the San community the more the San utilised the health services for treatment and management of common diseases like Malaria and cough as well as other diseases. On survival strategies both San communities “okunhanga” ‘go.. and look for..’ (fending for food) was the primary survival strategy the San were involved in for the sustenance of their livelihoods. The findings informed the recommendations in chapter five of this study.

Bibliography: pages 282-299. / Investigations in the archaeologically unexplored region of Namaqualand show that it was unoccupied for much of the terminal Pleistocene and early Holocene. Marginally more favourable climatic conditions circa 2000 BP encouraged re-occupation of the region. It would appear that Khoe-speaking hunter-gatherers with livestock and pottery first entered Namaqualand along the Orange River before moving southward along the Atlantic coast. Both sheep and pottery are present at /Ai tomas in the Richtersveld and Spoeg River Cave on the coast, some 1900 years ago. This is strong evidence for a western route of Khoekhoen dispersal into southern Africa and invalidates one of the hypotheses proposed by Elphick in 1972. Domestic stock was initially only a minor addition to the economy and these early inhabitants of the region continued utilising wild plant foods and game, slaughtering their domestic stock only infrequently. It is proposed that hunter-gatherer society may undergo the structural changes necessary to become pastoralists and that there is evidence for this in the archaeological record from Namaqualand during the period 1900 to 1300 BP. The historical and ethnographic records relating to the Little Namaqua Khoekhoen indicates that gender conflict structured much of the lives of the historical population and it is postulated that the pre-colonial period was also characterised by changing gender relations. Central to this thesis is a consideration of the active role of material culture in negotiating relations between various interest groups within a society as well as structuring relations between 'ethnic' groups. Certain material culture items are identified which were used to negotiate and structure gender relations. The archaeological material from Namaqualand are therefore analysed in order to determine changing social relations through time. It is concluded that ethnic distinctions between pastoralist groups and hunter-gatherers in Namaqualand became more stressed with the arrival of the Dutch as a consequence of increasing competition for resources. The collapse of Namaqua Khoekhoen society was brought about as a result of trading excess stock for luxury items rather than in establishing stock associations. This thesis proposes that material culture from archaeological excavations be analysed for evidence of the structuring of within-group relations and that material cultural changes dating to within the last 2000 years should not automatically be ascribed to the presence of two 'ethnic' groups.

This dissertation explores the impact of Bushman images, and the writings of Lucy Lloyd and Wilhelm Bleek (working with the Breakwater Bushmen) on three art works of Pippa Skotnes. They are The Return III (1988), For //Kunn (1993) and Heaven’s Things (1999). It is argued that Bushman imagery, being the result of shamanic trance activities is characterised by imagery, which mammals universally share. The use of the same imagery by the Surrealists in the twentieth century arises not from an intimate interaction with the spirit realm/dream world but from the European longing for an altered reality. Skotnes appropriates Bushman imagery in her prints, narrating the tragic fate of the Bushman. She laments the loss of the transcendental relationship between Man and the Universe. The exploitation, adoption and marketing of Bushman imagery by the tourist industry marks the distinction between her respectful treatment and the materialism of South Africans. / Visual Arts / M.A. (Visual Arts)

The thesis is an ethnographic exploration of the visual performances of the (≠Khomani) Bushmen of the Northern Cape and the Zulu from KwaZulu-Natal of South Africa. I investigate how the ≠Khomani and the Zulu involved in the cultural tourism industry are using archetypical tropes of ethnicity, and how they recreate these in the process of formulating context-specific identities in contemporary South Africa. The Bushmen and Zulu iconography that is ubiquitous is read against the modern day quotidian lives of the people concerned. The role and participation of tourists and researchers (anthro-tourists) in the performative culture of cultural tourism is investigated. An opportunity is also taken to critique the artistic creations of Vetkat Kruiper which partly arise because of the need to satisfy a tourism industry interested in Bushman arts and artefacts. Similarly his wife’s ‘biographical’ book Kalahari Rainsong (2004) is critiqued interactively and allows me to appreciate my encounters with people and text in the Kalahari. My visits to cultural villages where either the Zulu or the Bushman self-perform permit me to indulge in critical performative writing in which I also investigate the role and place of (anthro)tourists in the reinvention of site-specific identities. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2008.

This research project examines the relevance of Kenneth Arrow's (1951) Impossibility Theorem as a criterion for assessing post-modern critical approaches to development media theories (Servaes, 200 I; Melkote and Steeves, 2000). Comparing two distinct indigenous minorities' experiences with struggles for cultural autonomy, those of Norway's Sami and Botswana's Basarwa, it was found that the media discourses used by NGOs frequently exploit a narrative that validly permits development to be treated as a species of social welfare implementation. Applying Arrow's (1951) conditions for the democratic summation of diverse preferences, and treating cultural, political, and civil society groups as 'voters', it was found that indigenous minority concerns may be best accommodated by linking them to broader issues that exploit historical ties between peoples, with a special emphasis on episodes that have led to coordination in achieving independent ends. Popular memories of such coordination appear to moderate relations between minorities and their national cohabitants, reducing the need for radicalization of indigenous issues and smoothing the path to autonomy. / Thesis (M.A.)-University of KwaZulu-Natal, 2005.

The oeuvre of the Kalahari Studio (Cape Town), Drostdy Ware (a division of Grahamstown Pottery, Grahamstown) and Crescent Potteries (Krugersdorp) is investigated within the historical context of the 1950s, a watershed period that witnessed crucial developments in South African cultural and political history. This dissertation elucidates the historical development, key personnel, the ceramics, as well as relevant technical information related to the Kalahari Studio, Drostdy Ware and Crescent Potteries. This dissertation analyses the broader socio-political and ideological paradigms that framed South African art-making, as well as the international design trends that influenced the local studio ceramics sector. The establishment and demise of the South African studio ceramics industry and requests for tariff protection were considered within this context. Significant primary research was conducted into the present status of South African studio ceramics from the 1950s in the collections of our heritage institutions. Wares of all three of the studios reveal a predilection for figurative imagery, especially images of indigenous African women and iconography derived from reproductions of Southern San parietal art. Imagery of African women is considered within the framework of the native study genre in South African painting, sculpture and photography from 1800-1950 and Africana ceramics from 1910-1950. Images of San parietal art are investigated within their historical context of a growing public and academic interest in the Bushmen and a surge in publications containing reproductions of San parietal art. Some images of African women and San parietal art conform to pejorative and theoretically problematic modernist cannons of the'other', while some are subversive and undermine the dominant pictorial and ideological artistic conventions. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.

This thesis looks into the land use and natural resource management systems of Basarwa communities in Ngamiland in the northwest of Botswana. The study specifically focuses on Basarwa communities living in and on the edges of the Okavango Delta. The link between these communities and their natural resources is explored using the Sustainable Rural Livelihoods Framework and the Adaptive Renewal Cycle. The core assumption in this thesis is that livelihood strategies are constantly renewed and adapted to promote resilience in ecological and social systems. Fieldwork data collected between May 2000 and July 2001 and secondary data is used to deliberate on this point. The thesis confirms that the Basarwa’s livelihood strategies were adaptive only in as far as traditional livelihoods are concerned. The thesis traces the changes that the Basarwa have experienced as a result of policy restrictions through the different phases of the adaptive renewal cycle. The period following Independence in Botswana saw a policy shift which resulted in the Basarwa becoming landless. With mainly land-based livelihood strategies, the Basarwa were faced with new forms of crises and vulnerability which their traditional adaptive strategies were not designed for. It comes to the conclusion that the Basarwa are currently stuck in a reorganisation phase; however, the CBNRM Draft Policy of Botswana offers a glimpse of hope as it provides an opportunity for the Basarwa to progress through the full cycle of reorganisation, renewal, conservation and release.

This dissertation explores the impact of Bushman images, and the writings of Lucy Lloyd and Wilhelm Bleek (working with the Breakwater Bushmen) on three art works of Pippa Skotnes. They are The Return III (1988), For //Kunn (1993) and Heaven’s Things (1999). It is argued that Bushman imagery, being the result of shamanic trance activities is characterised by imagery, which mammals universally share. The use of the same imagery by the Surrealists in the twentieth century arises not from an intimate interaction with the spirit realm/dream world but from the European longing for an altered reality. Skotnes appropriates Bushman imagery in her prints, narrating the tragic fate of the Bushman. She laments the loss of the transcendental relationship between Man and the Universe. The exploitation, adoption and marketing of Bushman imagery by the tourist industry marks the distinction between her respectful treatment and the materialism of South Africans. / Visual Arts / M.A. (Visual Arts)

No description available.

The majestic mountains of the uKhahlamba Drakensberg, formed many millennia ago were home to the Bushmen[footnote 1] or San people. They lived at these mountains for thousands of years before they were colonised by the Bantu speakers and the Europeans. Academic writings for many years have perpetuated the thinking that Bushman people were largely extinct. The dominance of this view in the academic writings was encouraged by historical evidence that Europeans and Bantu speakers hunted and killed Bushmen over the last several centuries. Researchers argue that the extermination of the Bushmen was because they were less human in the eyes of the foreigners, due to cattle raiding. There is still some element of this thinking amongst today’s academics, although research in the last decade is questioning this thinking. The question of whether descendants do exist is relevant to issues of rights of access to ancestral sacred sites, in particular rock art sites. At present, access to rock art sites is granted on qualification as an authentic fee-paying tourist (or affordability) rather than on group rights to a cultural heritage resource (cultural rights). Based on this, I argue that access to rock art sites is based on qualification rather than by right. This is largely driven by an approach that emphasises the physical conservation and financial sustainability of a site, rather than its spiritual maintenance. It has become clear that the interests in rock art by tourists and Bushman descendants are distinct from each other. Tourists have an aesthetic significance for rock art while Bushmen descendants have a spiritual significance for the paintings. Beyond any doubt, the physically based and financially driven approach has brought new challenges to today’s Bushmen descendants, whom in reaffirming their identities now have a new challenge to overcome. Not only are the rock art sites physically threatened but also they have lost much of their spiritual powers. Their fate lies in the hands of heritage officers who must determine access rights to the painted shelters. Both the National Heritage Resources Act and the KwaZulu-Natal Heritage Act acknowledge living heritage. However, the existence of this heritage is judged against the physical approach to rock art management. If the practises of descendants are perceived to be a threat to the rock art, they will not be approved. The case of the Duma is a classic example. Prior to the ritual ceremony at Game Pass Shelter, Kamberg, they were informed of the minimum standards for opening a rock art site to public and rules of how people should behave while visiting painted shelters. While it was evident that there are problems with the two approaches, the spiritual and physical approach, discussed in the thesis, it is important that solutions are identified. I do not believe that one approach on its own will be good enough, for reasons discussed in the thesis. Instead, the two approaches should be implemented together to compliment each other by identifying common grounds. I provide strategies as to how I believe that such a common ground can be reached. In addition, I provide my own analytical thinking as to how these strategies can be achieved. There is no general consensus over which term is appropriate. Both terms are considered by some academics to be derogatory or pejorative (Chennels 2003). San means vagabond and was given to the Bushmen by Khoi-Khoi people, because they considered themselves of a better social class, as they had domesticated animals and were more sedentary than Bushmen. However, according to WIMSA (Thoma 2003) the word San is derived from the Hai||om language meaning “people who gather”. It is normally written Saan but it has been accepted to write San. In 1993 the San requested to be called San when referred to as an entire group. If one refers to individual people/groups they like to be called by their language and cultural name i.e. Khwe, !Kung, !Xun, Ju|’hoansi, ‡Khomani, N|u, |’Auni, Hai||om, etc In this thesis, Bushmen is a preferred term, because it is a better-known term among the people who are central to this study. It is used without any insulting connotations attached to the term.