Thesis (doctoral)--Universität Erlangen, 1906. / Includes bibliographical references (p. [vii]-viii).

Thesis (Ph. D.)--University of Hong Kong, 2008. / Also available in print.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1934. / Typescript. Includes abstract and vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 215-217).

Thesis (M. A.)--University of Hong Kong, 2009. / Includes bibliographical references (p. 117-120).

Thesis (M. A.)--University of Hong Kong, 2009. / Includes bibliographical references (p. 90-99).

Inaug.-Diss.--Universität zu Königsberg i. Pr.

Thesis (M.Sc.)--University of Hong Kong, 2003. / Includes bibliographical references (p. 105-107)

Includes abstract. / Includes bibliographical references (leaves 119-123). / Street musicians in South Africa work within a challenging macrostructure. In order to maximise their success within this performance environment they must develop strategies to overcome the difficulties that South Africa's streets present. Various social issues: unemployment, crime, health and xenophobia, have a direct impact on its street musicians, who predominantly come from lower income groups. The changing tourism industry, which is a vital source of income for these musicians, also presents challenges and opportunities. Together these aspects create a unique street environment within which to examine the role of the musical storyteller, and a performance space that requires the development of specific skills by the street performer to maximaise its advantages. Watching a performance by a group of South African street musicians, telling a complex narrative to their audience, I realised that these performers might not only be fulfilling various social functions, but might also be playing a role in actively performing, and contributing to, genres of South Africa's traditional musical heritage. I wished to explore this and began to interview selected street performers, and to observe and record their performances. The boom in the South African tourism industry encourages street musicians to develop styles of performance and musical storytelling that rely heavily on styles of traditional music. However, their repertoires are extensive, and keep altering. There is no pre-established, repeated canon of material to study and draw conclusions from. I therefore had to approach this study with a different intention. I did not look for single musical narrative items, which I could then dissect and present, but rather I attempted to identify unique aspects of this performance environment and the patterns, or frames of behaviour these cause and inspire.

An exploration by graphic means of selected South African iconography is the subject of this thesis. I have produced a collection of thirty-one silkscreen prints, which combine elements of the fine print and the street poster. The screen-prints have been mounted on board and presented in a box, accompanied by an illustrated dissertation. During the production of the printer I displayed a number of individual screen-prints, and later complete series, at various public locations (e.g. bus shelters, fences and walls of buildings) on the U.C.T. campus, in order to relate my working process to a direct public response. The whole collection of prints is ultimately envisaged as an exhibition on simple screens in a public place . The imagery in these prints is drawn from magazines and other mass publications, as well as from personal observation. My themes are based on aspects of South African popular culture and have been developed under eight different titles. The first five prints: OBSERVATIONS, can be seen as the visual parallel to a preface. Series One: ARTEFACTS, asserts the associative values of a well-known object when it is taken out of its context. Series Two: PROTOTYPES, links the quest for individuation with identification by means of uniform or dress. Series Three: INTERIORS, depicts environments that represent the concerns of the people who inhabit them. Series Four: MERE FACADES, portrays selected buildings which reveal aspects of the nature of the society they shelter. Series Five: AHEAD OF OUR TIME, focuses on outward appearance as a denominator of identity and on the resulting loss of individuality. Series Six: SUNNY SKIES, is a personal interpretation of some typical South African images (icons). Series Seven: MEMORABILIA, serves as a conclusion to the collection and is a personal homage to Joseph Cornell. This dissertation comprises a discussion of aspects of the practical work, concentrating on some elements of the historical background to my investigation; notes on my graphic methods and their implications; a documentary report on the display of the prints on the U.C.T. campus and an introduction to the prints.

This study describes the reasons why street children in Jakarta, Indonesia choose to leave a life on the street and the steps that are taken to exit the street successfully. Also described are the street entry process, life on the street, street disengagement, life after the street, and the role of service providers. Nine key informants (six former street children and three workers who work with homeless children) participated in in-depth interviews that revealed that troubled family life is the most common cause of street entry, and while street life offers much freedom and excitement it is also the source of great danger to street children, and street disengagement often takes a number of attempts before a “successful” exit is fully negotiated. Forming trusting relationships with street- based outreach workers and attending NGOs that emphasize love and care were highly influential in aiding with street exit. Also key to a successful exit over time is the development of new skills and knowledge, as well as a positive sense of self and an identity that is not connected to street involvement. / Graduate / 0630 / 0628 / brendenrbtaylor@gmail.com