Frans Hendrik Odendaal is in 1898 op Kimberley gebore. Hy het sy jeugjare op Boshof deurgebring en matrikuleer in 1916. Deur privaatstudie kwalifiseer hy in 1927 as prokureur. Hy is in 1919 met Magdalena Petronella du Plessis getroud. Uit hierdie huwelik is vier dogters gebore. Na h kart wewenaarskap tree hy in 1948 met Magdalena Jacoba Truter in die huwelik. Uit hierdie huwelik is twee dogters gebore, terwyl hy die dogters uit Magdalena Truter se vorige huwelik wettiglik aangeneem het. In 1928 vestig Odendaal horn as prokureur op Nylstroom w~ar hy by sy vennoot, adv J G Strijdom se politieke bedrywighede inskakel. In 1938 word hy lid van die Nasionale Party van Transvaal se Inligtingsburo. Gedurende die Tweede Wereldoorlog was hy vir h kort tydperk Kommandant van die OssewaBrandwag in die Waterberg. In 1948 is hy tot L P R vir Waterberg verkies en in 1952 tot L U K. In 1958 is hy as Administrateur van Transvaal benoem. Hy het geskiedenis in Transvaal gemaak deurdat hy die eerste Administrateur was wat uit die geledere van die Provinsiale Raad in die gesogte pas benoem is. Odendaal het bekendheid verwerf as eerste voorsitter van TRUK en vir sy aandeel in die bevordering en opbou van die kunste in Transvaal. Insgelyks het hy kuns in Suid-Afrika op h ordelike grondslag geplaas. Hy kan as een van die grondleggers van georganiseerde streekrade vir die kunste in Suid-Afrika beskou word. As Administrateur het hy horn verder onderskei as onderwysvernuwer en bevorderaar van snelboumetodes in die provinsiale geboue-program in Transvaal. Voorts het hy baie bygedra tot die groat ontwikkeling op nywerheids- en verkeersgebied in sy provinsie. Tussen 1952 en 1966 was hy ononderbroke voorsitter van die Nasionale Parkeraad. Hy was deels daarvoor verantwoordelik dat di~ organisasie tot h winsgewende en ordelike besigheidsonderneming uitgebou is. In die proses het hy natuurbewaring in die hele Suid-Afrika bevorder. Hy was oak voorsitter van die veelbesproke Kommissie van ondersoek na aangeleenthede in Suidwes-Afrika en kan beskou word as die vader van vernuwing en ontwikkeling in moderne Namibie. Hy is in 1966 na h hartaanval oorlede. / Frans Hendrik Odendaal was born at Kimberley -in 1898. He grew up in Boshof where he matriculated in 1916. Through private studies he quaiified as an attorney in 1927. He married Magdalena Petronella du PlessLs in 1919. Four daughters were born from this marriage. In 1948, after a short period as a widower, he married Magdalena Jacoba Truter. Two daughters were born from this marriage, while he legally adopted Magdalena Truter's two daughters from a previous marriage. In 1928 Odendaal settled at Nylstroom and practised as an attorney. He became involved with the political activities of his partner, adv J G Strijdom, and in 1938 he became a member of the National Party's Bureau of Information. During the Second World War he acted for a short period as Commandant of the Ossewa Brandwag in the Waterberg district. In 1948 he was elected M P C for Waterberg and in 1952 became M E C. In 1958 he was nominated as Administrator of Transvaal. He made history by becoming the first Transvaal Administrator to be selected from the ranks of the Provincial Council. Odendaal distinquished himself as the first Chairman of P A C T and for promoting the performing arts in Transvaal. At the same time he placed the performing arts on a sound footing in South Africa. He can be regarded as one of the founders of regional councils for the performing arts in South Africa. As Administrator he excelled as educational innovator in his province, and he also promoted quick building methods in the provincial building programme. He also contributed towards the development of industries and transport in his province. For the entire period between 1952 and 1966 he was chairman cf the National Parks Board. Due partially to his edeavours, the Board was developed into a profitable business organisation. In the process he played an important role in developing and promoting nature conservation throughout South Africa. He was also chairman of the commission of enquiry into the affairs of South West Africa and can be considered the father of development and renewal in modern Namibia. He- died of a heart attack in 1966. / History

Thesis (MPhil)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The Performing Arts Councils (PACs) have been the primary recipients of national public funding for the performing arts, accounting for nearly half of the arts and culture budget of the Department of Arts, Culture, Science and Technology (DACST). They had to be restructured in order to free public resources for allocation to other disciplines and areas in need of redress. The four PACs addressed in this study are The Playhouse Company (Durban), Artscape (Cape Town), PACOFS (Bloemfontein), and the Spoornet State Theatre (Pretoria). The purpose of the study was to determine whether or not the PACs had achieved the transformation goals as defined by DACST. The research was approached from a qualitative perspective to ensure that as much nuanced information as possible was collected within a limited timeframe and financial constraints. Where necessary, as in analysis of staff and expenditure, quantitative analyses were undertaken. The study found that the process of converting PACs to playhouses had been inconsistently implemented, although some of the PACs had come a long way in transforming themselves. Funding was obtained from government subsidies, NAC funding for specific projects, sponsorships, and other minor sources of income such as box office sales. Traditional forms of the performing arts, specifically opera and ballet, still accounted for a large portion of the total expenditure. PACs have had considerable difficulty in obtaining provincial and local government support, or adequate business sector support to make them viable as stand-alone entities. None of the PACs has been able to secure sustainable funding on a reliable basis to meet their requirements. DACST regards the implementation of a Community Arts Development (CAD) component and the establishment of the NAC as essential for an equitable arts dispensation in the country. CAD is meant to provide education and empowerment of people from previously disadvantaged communities, access to PAC venues and NAC funding, and awareness and outreach programmes. The CAD component varies substantially from PAC to PAC. The White Paper on Arts, Culture and Heritage recognises that the future of arts and cultural expression lies in the development of new audiences and markets. Audience development and facilitating access to venues has been left to the PACs, with little effect in some cases. The transformation of the staff profile of PACs to reflect the demographics of their provinces has been achieved. As the resultsof the study show each PAC took it upon itself to transform itself in its own way. As a result, transformation by the various PACs was found not always to be in line with the imperatives contained in the White Paper on Arts, Culture and Heritage (DACST, 1996). / AFRIKAANSE OPSOMMING: Die Rade vir Uitvoerende Kunste (RUK) was tot op hede die vernaamste ontvangers van nasionale staatsbefondsing vir die uitvoerende kunste, en het bykans vyftig persent van die Departement van Kuns, Kultuur, Wetenskap en Tegnologie (DKKWT) se begroting vir kuns en kultuur verteenwoordig. Hierdie Rade moes herstruktureer word sodat staatshulpbronne wat vir ander dissiplines en gebiede wat regstelling nodig gehad het, aangewend kon word. In hierdie studie is die vier Rade vir Uitvoerende Kunste "The Playhouse" (Durban), "Artseape" (Kaapstad), RUKOVS (Bloemfontein) en die Spoornet-staatsteater (Pretoria) bestudeer. Die doel van die studie was om te bepaal of die Rade vir Uitvoerende Kunste 'n transformasie, soos gedefinieer deur die DKKWT, ondergaan het. Die navorsing is vanuit 'n kwalitatiewe perspektief benader om te verseker dat so veel moontlik genuanseerde inligting binne 'n beperkte tydsbestek en te midde van finansiele beperkinge ingesamel is. Waar nodig, soos in die analise van personeel en uitgawes, is 'n kwantitatiewe benadering gevolg. Daar is bevind dat daar deurgaans uitvoering gegee is aan die omskepping van die Uitvoerende Kunsterade in skouburgteaters, hoewel sommige Rade reeds 'n ver pad met betrekking tot selftransformasie geloop het. Befondsing was afkomstig van staatsubsidies, NUK-befondsing vir spesifieke projekte, borge en ander minder beduidende bronne, byvoorbeeld inkomste uit kaartjieverkope. Tradisionele vorms van die uitvoerende kunste, veralopera en ballet, het steeds 'n beduidende deel van totale uitgawes uitgemaak, en Rade vir Uitvoerende Kunste het groot probleme ondervind om genoegsame steun van provinsiale regerings, plaaslike owerhede en die besigheidsektor te werf om hulle in staat te stelom as lewensvatbare en onafhanklike entiteite te funksioneer. Nie een van die Rade vir Uitvoerende Kunste kon daarin slaag om befondsing van 'n standhoudende aard te bekom waarop hulle kon reken om aan hul vereistes te voldoen nie. Die DKKWT beskou die implementering van 'n Gemeenskapskunsontwikkelingkomponent (GKO) en die stigting van die NUK as onontbeerlik vir 'n regverdige kunste-bedeling in die land. GKO beoog om voorsiening te maak vir die opvoeding en bemagtiging van mense III die voorheen agtergeblewe gemeenskappe, toegang tot plekke waar GKO-optredes gehou word, NUKbefondsing, asook bewustheids- en uitreikprogramme. Die GKO-komponent wissel aansienlik van RUK tot RUK. Die Witskrif oor Kuns, Kultuur en Erfenis erken dat die toekoms van kuns- en kulturele uitdrukking in die ontwikkeling van nuwe gehore en markte opgesluit lê. Die ontwikkeling van gehore en makliker toegang tot plekke waar optredes aangebied word is in die hande van Kunsterade gelaat; in sommige gevalle met weinig effek. Die transformasie van die Rade vir Uitvoerende Kunste se personeelprofiel ten einde die demografiese werklikheid van elke provinsie te weerspieel was suksesvol. Soos duidelik uit die studie blyk, het elke Raad vir Uitvoerende Kunste onderneem om die transformasie op sy eie manier te implementeer. Die gevolg is dat die transformasie in die verskillende Rade vir Uitvoerende Kunste nie altyd tred hou met die bindende opdragte wat in die Witskrif oor Kuns, Kultuur en Erfenis (DKKWT, 1996) vervat is nie.

M.Tech. (Interior Design) / Commissioned public buildings in post-apartheid South Africa exhibit a synergy between local craft and contemporary design in their interiors. Tasked with the design of buildings representative of a democratic South Africa, architects looked to the surrounding communities, recognizing and incorporating local craft skills and products into their designs. The buildings selected as examples for this study are the Mpumalanga Provincial Legislature (2001) in Nelspruit, the Northern Cape Provincial Legislature (2003) in Kimberley, and the Constitutional Court (2004) in Johannesburg. These have been selected as they are the three buildings commissioned after 1994 by the democratically elected South African government. This research aims to determine how national identity has been communicated and represented in the interior design of these public buildings, through the inclusion of local craft. As key public buildinqs of this time there has been considerable research done based on these examples in the field of architecture, notably by the authors Freschi (2006,2007) and Noble (2011), however, no research has been done in the field of interior design. By taking an interpretivist approach, this qualitative study seeks to find meaning and deeper understanding. Data was collected in transcribed interviews, observations in the field as well as a literature review. Qualitative content analysis was used to initiate a comparison between the interior design of the buildings. Through the use of crystallization as a methodology it attempts to offer a thickly described interpretation of three public interiors undertaken in the development of a national design identity. This study could be of interest to interior design students, interior design and architectural professionals undertaking similar projects and government departments interested in this field.

Cultural policy studies, or studies in the relations of government and culture (Mercer, 1994) were initiated in Australia in the 1980s, where cultural studies have been reinterpreted into a dialogue of policy-making and cooperation between the government and academia (Cunningham, 1994; Hunter, 1993/1994; Molloy, 1994; Santamaria, 1994). This Australian-pioneered "cultural policy moment" (Cunningham 1994; Hawkins, 1994) thus provides an epistemological starting point for an analysis of cultural policy developments in South Africa, especially after 1994. Early South African cultural policy studies tend to draw from the Australian experience (Tomaselli and Shepperson, 1996). It must be noted that in terms of South African film policy analysis, there have been two cultural policy moments, one that addresses film post World War II to 1991, a period that is generally characterised as a "cinema of apartheid" (Tomaselli, 1989). This period is indebted to the seminal work of Keyan Tomaselli and Martin Botha. The second cultural policy moment begins in 1991 and continues to the present. It is this "moment" that informs the research and critical focus of the ways in which cultural studies in South Africa have modified the foundation of its critical position towards the state in response to developments since 1990. The aim of this thesis is to critically examine the ways in which South African cultural studies have responded to the Australian "cultural policy moment" in terms of academic-state relations, and the impact of discussions that were engaged in by various film organisations on film policy after 1990, and which resulted in the written proposals on film submitted to the Arts and Culture Task Group in 1994 and 1995. The Arts and Culture Task Group was the case study within which the notion of cultural policy was studied, along with the White Paper on Film. This thesis draws on and applies a variety of methods: firstly, there is the participatory research: I was employed by ACTAG to undertake research into film policy. My own experience of the process in which I worked very closely with the film sub-committee provides an "insider" account of assumptions, conflicts, practices and how outcomes were reached. I was also designated, along with Professor Tomaselli and Dr Botha, as one of the co-authors of the White Paper, and was thus part of the process of revising the ACTAG recommendations into draft legislation. Secondly, there is the method of comparative study: this thesis initially draws on the Australian cultural studies and film policy on the one hand, and South African cultural studies and film policy on the other. It then evolves into a critique of the "cultural policy moment" (Cunningham, 1994; Hawkins, 1994) as it related to the development of South African film policy between 1991 and 1997. Lastly, there was the empirical investigation: ACTAG, which was established to counsel Dr Ben Ngubane on the formulation of policy for the newly established government (see Chapter Four of this thesis, and see Karam, 1996), served as a case study. The final ACTAG document resulted in a reformulated arts and culture dispensation consistent with the new Constitution. This process in turn led to the origination and publication of the Government of National Unity's White Paper on Film in May 1996. Incorporated into this analysis was an "information trawl" (Given, 1994; Mercer, 1994 and Santamaria, 1994) of prior and extant policy frameworks and assumptions of various film, cultural and media organizations formulated during the period under review. The link between film and culture, and hence film and cultural policy, emerges from the following two commonplace associations: firstly, that film as a form of visual creation is therefore a form of art; and secondly, that the concepts of art and culture are inextricably connected. What drives the present debate is the Australian appropriations of Raymond Williams's description of culture as "a whole way of life". This, while validly dissolving the early-twentieth century identification of culture with "high" or "canonical" forms of traditional literature, sculpture, or painting, none the less leaves theorists with a "distinct fuzziness" (Johnson, 1979) as to what the term "culture" actually denotes. Australian policy studies' approaches tend to focus on culture as personifying a structure of "livability" under terms of employment, environmental concerns, and urban planning (Cunningham, 1994; Hawkins, 1994). In general, however, the focus has only attained any concrete outcomes when research has resuscitated precisely the link between culture and the arts, thereby drawing on the old polemics of "high" versus "low" and "popular" culture. The individual chapters cover the following topics: the Introductory Chapter provides a general historical overview of the South African film subsidization system, a crucial element of the analytical framework, from its inception in 1956 to it's dissolvement in the 1980s; Chapter Two, "Cultural Policy" deals with the origination and development of the concept of "cultural policy"; Chapter Three focuses on the Australian "cultural policy moment" and it's application to film; Chapters Four and Five deal with the ACTAG Film Sub-committee and the White Paper on Film respectively; and the last chapter, Chapter Six critiques these processes and their resulting documents, as case studies, from a cultural policy standpoint. / Thesis (M.A.)-University of Natal, Durban, 1997.

Frans Hendrik Odendaal is in 1898 op Kimberley gebore. Hy het sy jeugjare op Boshof deurgebring en matrikuleer in 1916. Deur privaatstudie kwalifiseer hy in 1927 as prokureur. Hy is in 1919 met Magdalena Petronella du Plessis getroud. Uit hierdie huwelik is vier dogters gebore. Na h kart wewenaarskap tree hy in 1948 met Magdalena Jacoba Truter in die huwelik. Uit hierdie huwelik is twee dogters gebore, terwyl hy die dogters uit Magdalena Truter se vorige huwelik wettiglik aangeneem het. In 1928 vestig Odendaal horn as prokureur op Nylstroom w~ar hy by sy vennoot, adv J G Strijdom se politieke bedrywighede inskakel. In 1938 word hy lid van die Nasionale Party van Transvaal se Inligtingsburo. Gedurende die Tweede Wereldoorlog was hy vir h kort tydperk Kommandant van die OssewaBrandwag in die Waterberg. In 1948 is hy tot L P R vir Waterberg verkies en in 1952 tot L U K. In 1958 is hy as Administrateur van Transvaal benoem. Hy het geskiedenis in Transvaal gemaak deurdat hy die eerste Administrateur was wat uit die geledere van die Provinsiale Raad in die gesogte pas benoem is. Odendaal het bekendheid verwerf as eerste voorsitter van TRUK en vir sy aandeel in die bevordering en opbou van die kunste in Transvaal. Insgelyks het hy kuns in Suid-Afrika op h ordelike grondslag geplaas. Hy kan as een van die grondleggers van georganiseerde streekrade vir die kunste in Suid-Afrika beskou word. As Administrateur het hy horn verder onderskei as onderwysvernuwer en bevorderaar van snelboumetodes in die provinsiale geboue-program in Transvaal. Voorts het hy baie bygedra tot die groat ontwikkeling op nywerheids- en verkeersgebied in sy provinsie. Tussen 1952 en 1966 was hy ononderbroke voorsitter van die Nasionale Parkeraad. Hy was deels daarvoor verantwoordelik dat di~ organisasie tot h winsgewende en ordelike besigheidsonderneming uitgebou is. In die proses het hy natuurbewaring in die hele Suid-Afrika bevorder. Hy was oak voorsitter van die veelbesproke Kommissie van ondersoek na aangeleenthede in Suidwes-Afrika en kan beskou word as die vader van vernuwing en ontwikkeling in moderne Namibie. Hy is in 1966 na h hartaanval oorlede. / Frans Hendrik Odendaal was born at Kimberley -in 1898. He grew up in Boshof where he matriculated in 1916. Through private studies he quaiified as an attorney in 1927. He married Magdalena Petronella du PlessLs in 1919. Four daughters were born from this marriage. In 1948, after a short period as a widower, he married Magdalena Jacoba Truter. Two daughters were born from this marriage, while he legally adopted Magdalena Truter's two daughters from a previous marriage. In 1928 Odendaal settled at Nylstroom and practised as an attorney. He became involved with the political activities of his partner, adv J G Strijdom, and in 1938 he became a member of the National Party's Bureau of Information. During the Second World War he acted for a short period as Commandant of the Ossewa Brandwag in the Waterberg district. In 1948 he was elected M P C for Waterberg and in 1952 became M E C. In 1958 he was nominated as Administrator of Transvaal. He made history by becoming the first Transvaal Administrator to be selected from the ranks of the Provincial Council. Odendaal distinquished himself as the first Chairman of P A C T and for promoting the performing arts in Transvaal. At the same time he placed the performing arts on a sound footing in South Africa. He can be regarded as one of the founders of regional councils for the performing arts in South Africa. As Administrator he excelled as educational innovator in his province, and he also promoted quick building methods in the provincial building programme. He also contributed towards the development of industries and transport in his province. For the entire period between 1952 and 1966 he was chairman cf the National Parks Board. Due partially to his edeavours, the Board was developed into a profitable business organisation. In the process he played an important role in developing and promoting nature conservation throughout South Africa. He was also chairman of the commission of enquiry into the affairs of South West Africa and can be considered the father of development and renewal in modern Namibia. He- died of a heart attack in 1966. / History

This research explored, described and explained the nature and the extent of heritage crime as it manifested in the Gauteng Province of South Africa for the period 2006-2010. Gauteng was selected since it is deemed to be the hub of the legal trade. An operational definition of heritage objects was drafted for this study as ‘objects of artistic, cultural, historic or archaeological value regardless of age, housed in or curated by museums or galleries within Gauteng, and which are both tangible and moveable.’ Heritage crime for the purpose of this study was the illegal removal of any heritage object from a museum or gallery. The annual crime statistics released by the South African Police Services (SAPS) contain no reference to heritage crime of any sort. Therefore this research attempted to quantify the incidents of thefts experienced by museums and galleries in Gauteng for the period 2006-2010. Using a mixed method approach, data were gathered by qualitative and quantitative surveys. A total of 28 qualitative interviews were conducted. These data were integrated with the quantitative data which permitted the achievement of the strategic aims set out for this research. The following aims were achieved: • The roles and responsibilities of the custodians of the national estate were clarified; • International conventions designed to assist in combating crime perpetrated against cultural property were discussed; • The national legislation which guides the management, preservation and protection of heritage objects as well as the trade therein within South Africa was examined; • Policing agencies at the forefront of combating heritage crime were interviewed and international best practices were identified and compared with that which the SAPS are doing to address crime of this nature. These police agencies are situated in Italy, the United Kingdom, the USA and Germany; • The dynamics of the reported incidents of loss/theft were examined. Several anomalies were identified. Among these are the identification of the typologies of items being targeted and the possible identification of the type of thief perpetrating these crimes. • Through analysis of incidents it was also possible to highlight that the majority of thefts occur during the time when museums and galleries are open and that the items stolen are usually on open display (not affixed to the surface and not behind a barrier of any sort). Through the analysis of the data for legal trade and the theft incidents it was possible to design a Framework depicting the interface between the legal and illegal markets for trade in heritage objects. The research also provides law enforcement with minimum guidelines to ensure that crimes of this nature are addressed more effectively. / D.Litt. et Phil. / Department of Criminology (Police Science)

This research explored, described and explained the nature and the extent of heritage crime as it manifested in the Gauteng Province of South Africa for the period 2006-2010. Gauteng was selected since it is deemed to be the hub of the legal trade. An operational definition of heritage objects was drafted for this study as ‘objects of artistic, cultural, historic or archaeological value regardless of age, housed in or curated by museums or galleries within Gauteng, and which are both tangible and moveable.’ Heritage crime for the purpose of this study was the illegal removal of any heritage object from a museum or gallery. The annual crime statistics released by the South African Police Services (SAPS) contain no reference to heritage crime of any sort. Therefore this research attempted to quantify the incidents of thefts experienced by museums and galleries in Gauteng for the period 2006-2010. Using a mixed method approach, data were gathered by qualitative and quantitative surveys. A total of 28 qualitative interviews were conducted. These data were integrated with the quantitative data which permitted the achievement of the strategic aims set out for this research. The following aims were achieved: • The roles and responsibilities of the custodians of the national estate were clarified; • International conventions designed to assist in combating crime perpetrated against cultural property were discussed; • The national legislation which guides the management, preservation and protection of heritage objects as well as the trade therein within South Africa was examined; • Policing agencies at the forefront of combating heritage crime were interviewed and international best practices were identified and compared with that which the SAPS are doing to address crime of this nature. These police agencies are situated in Italy, the United Kingdom, the USA and Germany; • The dynamics of the reported incidents of loss/theft were examined. Several anomalies were identified. Among these are the identification of the typologies of items being targeted and the possible identification of the type of thief perpetrating these crimes. • Through analysis of incidents it was also possible to highlight that the majority of thefts occur during the time when museums and galleries are open and that the items stolen are usually on open display (not affixed to the surface and not behind a barrier of any sort). Through the analysis of the data for legal trade and the theft incidents it was possible to design a Framework depicting the interface between the legal and illegal markets for trade in heritage objects. The research also provides law enforcement with minimum guidelines to ensure that crimes of this nature are addressed more effectively. / D.Litt. et Phil. (Police Science) / Department of Criminology (Police Science)