Dissertation is presented in partial fulfilment of the requirements for the award of Masters Degree of Technology: Fine Art, Durban University of Technology, 2009. / This dissertation was researched in two main parts. The first enquiry was to establish whether the Afrikaner women practised any form of craft during their time of interment in the Anglo-Boer War concentration camps, during 1899-1902. The second part explores the appropriation of craft within the Post-Modern context by five South African artists. During this research into the craft practises of Afrikaner women in the concentration camps, I discovered that this particular issue has not been satisfactorily documented. The reasons for this are directly connected to the patriarchal system of the Calvinist Afrikaner. The impact which this system had on the craft practices of Afrikaner women and the lack of documentation thereof, are discussed. The paucity of information on Afrikaner women‟s history led to primary research where I gained the information I needed from the descendents of interned women. The findings of this research includes various forms of needlecraft such as embroidery, quilting, crocheting, and dress and bonnet making. Amongst the artefacts found were two ceramic dogs made in the camp. Various forms of tin and wire artefacts were also found. The contribution to the impoverished Afrikaner women by Hobhouse, the South African Agricultural Association and the South African Women‟s Federation is explained in relation to this dissertation. The freedom that Post-Modern thought created amongst artists enabled them to explore exciting ways of executing their art. The five South African artists whose work I chose to explore are Billy Zangewa, Sue Pam-Grant, Gina Waldman, Antionette Murdoch and Nirmi Ziegler. Their art practices are varied but the common denominator is the incorporation of various forms of traditional feminine craft into their work. They subvert the patriarchal order, draw attention to land issues, explore women‟s fragility and raise awareness concerning the abuse of the environment. I conducted an interview with Ziegler and relied on written documentation for the research concerning the other artists. I also made use of my own analysis and instinct as a woman and mother to interpret some works. As an Afrikaner woman I execute my work by using traditional feminine craft and specific motives found during my research. I deliver commentary on the lack of vi documentation of all of Afrikaner women‟s history. I use myself as an example of an Afrikaner woman and document my own history within the greater Afrikaner history which is contained and embedded within the history of South Africa. My research into and documentation of the craft practises of Afrikaner women during and directly after the Anglo-Boer War adds to the body of knowledge concerning the history of Afrikaner women. The same applies to the work of the five artists I explored. The diversity of material, concept and execution of their work will add some knowledge to the existing body of knowledge about their work, but more so to the documentation of women's history. / M

Thesis (MA (History))--University of Stellenbosch, 2006. / In the case of the Anglo-Boer War masculine military history has attracted scholars, as has the suffering and martyrdom of female internees in the concentration camps. Conspicuously overlooked by scholars are the wartime plights of black women and privileged white women. The focus of this study are those white females who remained outside of the camps. Some such women staked their claim to history by keeping diaries of their wartime experiences. Two in particular, Isabella Lipp and Nonnie De la Rey, chronicled opposing sides of the conflict. Their testimony is studied here both descriptively and comparatively. Because the challenges of war provoked differing responses, adjunct to Nonnie and Isabella’s journals are the diaries of Alida Badenhorst, Elizabeth Henrietta Martyn (Bessie) Collins and the unpublished notes of Florence Burgers—daughter of the Transvaal’s second president. All these women were privileged and hence advantaged but they also struggled daily for survival and responded proactively. Mrs. Isabella Lipp, wife of a prominent banker, recorded her perception of the war from a cramped third-floor apartment in Johannesburg. Very much in tune with the ideological aspects of war, she wanted imperialism upheld even amidst the unfair cruelty that she witnessed. Nonnie De la Rey, wife of General Koos De la Rey, fled the enemy and lived on the open veld. Her life was not as monotonous or lonely as Isabella’s. Had the consequences been less decisive this may have been an exciting adventure. What emerges from these sources, which are representative of white women of society, is a surprising female response to wartime conditions. That response included the sadness, struggle and toil that might be expected, but, significantly, it also included remarkable resilience—manifested in a variety of ways in the face of momentous circumstances. The forgoing findings contribute to the war’s social/gender history by including “people without history” within the written historical record.1 Women displayed a unique reliance and bond between themselves and their black workers; domestic duties and roles were completely disrupted; and the constant anxiety and lack of news about loved ones caused acute family distress. Did women snivel submissively, waiting to be rescued by men? Were they victims of circumstances thrust upon them? Did they succumb to the Victorian model of female fragility? My findings offer evidence to the contrary.