Thesis (Ph.D.(History)) -- University Of Limpopo, 2022 / The problem under investigation in this thesis is centred on the complex changes and transformation in student activism at the University of Limpopo (UL) during the period 1968-2015. The overreaching objectives of the study were to unpack the changing conceptualisation of student politics, tactics and strategies deployed in realising student needs and interests in the creation of South Africa’s contested transition from the openly racist apartheid system to a liberal democratic regime enshrined in the 1996 constitution. Periodisation theory, which conceptualises and frames development or change and transformation of historical phenomena as unfolding in terms of distinctive time periods, was used to provide historical insight into the evolution of student activism. The cognitive merits and possibilities of periodisation theory were enhanced by integrating Altbach’s Theory of Student Activism, which stresses the Importance of recognising and grasping the unique characteristics of student activists and their organisations in higher education systems. The resultant theoretical framework produced a cognitive structure which provided the researcher with concepts and ideation to make sense of the difficult and complex reconfiguration demanded, especially by the transition. The methodology utilised in the study involved collecting and analysing data from both primary and secondary sources. The primary data was acquired from a sample of former students who were registered at UL during the period covered by the study. The Thematic Content Analyses (TCA) approach distilled themes embedded in the data collected. An overreaching finding of the study is that while it was relatively easy for Black students to conceptualise and decode the nature of oppression and struggle in an openly racialised system, such as apartheid, the ascendance to state power of Black leaders of liberation movements, some of whom were militant student activists prior to 1994, created a political landscape which made it difficult for students to decode what was required to deepen liberation and freedom. Some of the difficulties manifested themselves inter alia in the scandalous vandalisation of University resources, such as libraries, cars and classrooms. More than twenty years into “democracy”, however, student activists began to penetrate and decode deeper layers of oppression, hidden by the dense fog of liberal democracy, which needed to be dismantled. It is in this sense that the thesis views the eruption of the 2015 #Fees Must Fall movement and the accompanying curriculum decolonisation battles in South Africa as constituting a revolutionary landmark in the evolution of student activism. Student activists since 2015 seemed to have come to the realisation that liberal democratic rights and freedoms were incapable of dismantling white supremacy (racism), which is at the heart of the subjugation and oppression of Black people in South Africa and beyond. The thesis recommends, inter alia, that the relative invisibility of the role of women in studies of this nature is troubling and that historians must urgently solve this lacuna

Thesis (Ph.D. Communication Studies)) -- University of Limpopo, 2020 / Hair has been a marker of identity that communicates issues of race, acceptability, class and beauty. Evidence of this was during colonialism and apartheid where South African identities were defined by physical characteristics such as the texture of one’s hair, and the colour of one’s skin. Whiteness was the epitome of beauty which came with certain privileges. Non-White bodies were defined as part of a particular narrative that saw them as well as their hair as inferior to that of White bodies. Academic literature continues to engage African hair from the perspective of a colonial legacy through a postcolonial lens. This study, however, asserts a shift in engaging African hair and introduces an African identity which is re-empowered and liberated through agency and choice, and active participation in the construction of its own identity. This shift in engagement also relinquishes the African identity’s association with the dominant narrative of its conformity to a single European ideology of beauty and identity by introducing a (post)colonial, postmodern theory of a Multi-flex, Neo-hybrid identity which forms part of the theoretical framework of this study. This study draws on the theoretical positions of postmodern theory about the concepts of ‘self’ and identity. It engages interpretations of postmodernism and ‘self’ through the works of Kenneth Gergen and Robert Lifton who provide critical theoretical insight into postmodernism and identity. It also engages critical scholars such as Homi Bhabha, Franz Fanon, Kwame Appiah, Charles Ngwenya and Achille Mbembe, amongst others. Through this theoretical lens, I examine the role of the media in the presentation of the panoply of hair (styles) to South African women in the process of constructing a fluid, flexible and hybrid identity that decentres the ideology of rigid racial identity. I also critically investigate whether non-White women who lived during the colonial-apartheid era and those born in a free democratic era share this multi-flex, neo-hybrid identity of the postmodern woman. Thus this study aims to critically explore social narratives of South African women’s hair and how the media perpetuate the construction of a new postmodern African female identity within the backdrop of the commodification of hair and identity in a globalised market and media environment. Coupled with an interpretivist paradigm, a phenomenological v approach was adopted for this study. Data was collected from print media content material namely, DRUM Hair magazine (editions 2014-2019) due to the assortment of hairstyles and identities it provides for African women. Data was also collected in the form of semi-structured interviews/personal accounts/stories presented as phenomenological narratives from colonial-born Coloured and colonial-born Black female participants. Focus group interviews were conducted on post-apartheid/born-free Coloured and Black female South African participants to understand how these women construct their identities through hairstyle choices and the impact this has on the (re)presentation of their identities within the global beauty market environment. These diverse participants aged from 18 to 104 allow me to trace, if any, the changes in perception of hair and hairstyles from colonial-apartheid South Africa to the new and free post-apartheid South Africa. The results of the study show that media enable the African woman to construct a postmodern identity through the multiplicity of hairstyles/identities available to her. It also provides the African woman with the tools to create various identities for herself through the diversity of hairstyles available to her. The African woman who is exposed to an assortment of hairstyles can navigate from one identity to the next without being loyal to one identity which is typical of the postmodern self. Another finding is that coloniality seems to continue to shape the identities of women born during the colonial apartheid era. But for those born during the (post)colonial and post-apartheid era, they embrace a navigatory form of hybridity that is not loyal to one identity but explores various forms of identity, which the market place affords them and the media perpetuate in the construction of multi-flex, neo-hybrid and postmodern identities. The implication of this study is that it is liberating since it allows us to critically review our identity and what we deem as beautiful and to question the daily choices we make not only with our hairstyles but with fashion, food and other cultural elements that shape our performance of identities. / National Institute for the Humanities and Social Sciences (NIHSS) and South African Humanities Deans Association (SAHUDA)

Jews were present in Pietersburg [Polokwane] from the time of its establishment in 1868. They came from Lithuania, England and Germany. They were attracted by the discovery of gold, land and work opportunities. The first Jewish cemetery was established on land granted by President Paul Kruger in 1895. The Zoutpansberg Hebrew Congregation, which included Pietersburg and Louis Trichardt was established around 1897. In 1912, Pietersburg founded its own congregation, the Pietersburg Hebrew Congregation. A Jewish burial society, a benevolent society and the Pietersburg-Zoutpansberg Zionist Society was formed. A communal hall was built in 1921 and a synagogue in 1953. Jews contributed to the development of Pietersburg and held high office. There was little anti-Semitism. From the 1960s, Jews began moving to the cities. The communal hall and minister's house were sold in 1994 and the synagogue in 2003. Only the Jewish cemetery remains in Pietersburg. / Religious Studies & Arabic / M.A. (Judaica)

This work covering the period 1795 to 1948 has four main features. It firstly examines the role of international and domestic factors in determining regional interaction and cooperation between South Africa and Chile. Secondly, it documents the whims of the international community, and more particularly the world powers which was a motivating factor in Chilean and South African politics, economy, society and their bilateral relations. Thirdly it covers the period when Britain rose to world power status. Eventually, this gave way to her displacement by Germany and then ultimately the United States. This study's fourth feature is that it marks the first documented account of direct contact between the inhabitants at the Cape of Good Hope and Latin America. The period ends with a cornerstone in the history of South African-Chilean bilateral relations when direct diplomatic and consular relations were established by both South Africa and Chile in May 1948. / M.A. (History)

This study entails a critical investigation into the issue and trends that shaped Black perspectives on education in South Africa in the period between 1652 and 1993. A theoretical-philosophical exposition is presented to establish the fundamental characteristics of education and therefore characteristics valid for every human being under any circumstances at any time. These characteristics were used to eventually appraise the issues and trends underlying the shaping of Black perspectives on education in South Africa. This study has revealed that the shaping of Black perspectives on education in South Africa goes hand in hand with the growing realization among Blacks that education is not merely a political issue but also deeply imbedded in the interconnectedness and/or differences between social realities such as the church, the school itself, teachers' associations, the news media et cetera. This should be accounted for by every citizen in a responsible way. / Educational Studies / M. Ed. (History of Education)

Chapter 1 is the introductory chapter which gives the aim of study, delimitation, scope and methodology. It further presents critical studies that have been done on Feminism. Chapter 2 is devoted to the Feminist theory, the origin of the term stereotype and the diverse schools of thought within the Feminist camp. Feminism from the African perspective, known as Womanism, has been deliberated on. Chapter 3 concentrates mainly on two women authors, Damane and Makhambeni. This chapter looks at how these authors have depicted their female characters. It also examines the stereotypes employed by these female authors. Chapter 4 is devoted to the writing of male authors. This chapter also concentrates on the stereotypes employed by them in their analysis of their female characters. Chapter 5, concludes the study and summarizes the main findings of this review. / African Languages / M.A. (African Languages)

Text in Afrikaans / Die twee boeke waarin J.J. Collyer die kampanjes in Duits Suidwes-Afrika (Namibie) en Duits Oos-Afrika (Tanzanie) beskryf, bevat enkele kennis stellings wat vandag nog bruikbaar is. Collyer verduidelik dat militere foute van die verlede histories deur die staf ontleed moet word om sodanige foute in die toekoms te vermy. Hy gaan egter verder en verduidelik dat die moontlikheid om toekomsti.ge optrede te verbeter nodig is om onnodige bloedvergieting te verhoed. Hierdie verhandeling het ten doel gehad om die laaste stelling van Collyer te ondersoek en te bepaal of dit wel in Suid-Afrika toegepas is. Die navorsingsprobleem van die verhandeling was om te bepaal ofKrygsgeskiedenis aangewend is om die militere doktrine in Suid-Afrika mee te verbeter. Die bevinding van die verhandeling was dat daar slegs in enkele gevalle deur die SuidAfrikaanse Nasionale Weermag (en sy voorgangers) wel van Krygsgeskiedenis gebruik gemaak was om doktrine mee te ontwikkel en dat baie meer gedoen behoort te word. / The two books of 1.1. Collyer which discuss the campaigns in German South West Africa (Namibia) and German East Africa (Tanzania) contain knowledge propositions that are still valid today. Collyer explains that the military mistakes that were made in the past should be analysed especially by the staff today to prevent making the same mistakes in the future. He goes on to explain that future conduct should be improved in order to prevent unnecessary bloodshed. This dissertation's aim was to investigate Collyer's proposition and to determine whether this was applied in South Africa. The research problem of the dissertation was to determine whether Military History was utilised to improve South Africa's military doctrine. The finding of the dissertation was that the South African National Defence Force (and its predecessors) utilised Military History only in very few cases to develop doctrine and that much remains to be done. / Political Sciences

In view of the scarcity of Indian women in the South African art field, this study investigates how issues of race, class and gender can affect the decision to become and sustain a career as a professional artist. By exploring the historical background of the Indian community and their patriarchal mind set it becomes clear that women's roles in this community have always been prescribed by tradition and cultural values, despite western influence. Moreover the legacy of apartheid created a situation in which black artists, especially women. have not always benefitted in terms of career opportunities. The research is based on case studies of five Indian women who have received due recognition as artists: Lalitha Jawahirilal, Usha Seejarim, Sharlene Khan, Simmi Dullay and Reshma Chhiba. These artists' lives, careers and artistic output are closely studied, documented and critically interpreted using key concepts such as orientalism, black feminism and post colonialism. / Art History, Visual Arts & Musicology / M.A. (Art History)

Text in English / This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another. / Art History, Visual Arts and Musicology / M.Mus.

In view of the scarcity of Indian women in the South African art field, this study investigates how issues of race, class and gender can affect the decision to become and sustain a career as a professional artist. By exploring the historical background of the Indian community and their patriarchal mind set it becomes clear that women's roles in this community have always been prescribed by tradition and cultural values, despite western influence. Moreover the legacy of apartheid created a situation in which black artists, especially women. have not always benefitted in terms of career opportunities. The research is based on case studies of five Indian women who have received due recognition as artists: Lalitha Jawahirilal, Usha Seejarim, Sharlene Khan, Simmi Dullay and Reshma Chhiba. These artists' lives, careers and artistic output are closely studied, documented and critically interpreted using key concepts such as orientalism, black feminism and post colonialism. / Art History, Visual Arts and Musicology / M.A. (Art History)