In modern society, cyberspace is interwoven into the daily lives of many. Cyberspace is increasingly redefining how people communicate as well as gain access to and share information. Technology has transformed the way the business world operates by introducing new ways of trading goods and services whilst bolstering traditional business methods. It has also altered the way nations govern. Thus individuals, organisations and nations are relying on this technology to perform significant functions. Alongside the positive innovations afforded by cyberspace, however, those who use it are exposed to a variety of risks. Cyberspace is beset by criminal activities such as cybercrime, fraud, identity theft to name but a few. Nonetheless, the negative impact of these cyber threats does not outweigh the advantages of cyberspace. In light of such threats, there is a call for all entities that reap the benefits of online services to institute cybersecurity. As such, cybersecurity is a necessity for individuals, organisations and nations alike. In practice, cybersecurity focuses on preventing and mitigating certain security risks that might compromise the security of relevant assets. For a long time, technology-centred measures have been deemed the most significant solution for mitigating such risks. However, after a legacy of unsuccessful technological efforts, it became clear that such solutions in isolation are insufficient to mitigate all cyber-related risks. This is mainly due to the role that humans play in the security process, that is, the human factor. In isolation, technology-centred measures tend to fail to counter the human factor because of the perception among many users that security measures are an obstacle and consequently a waste of time. This user perception can be credited to the perceived difficulty of the security measure, as well as apparent mistrust and misinterpretation of the measure. Hence, cybersecurity necessitates the development of a solution that encourages acceptable user behaviour in the reality of cyberspace. The cultivation of a cybersecurity culture is thus regarded as the best approach for addressing the human factors that weaken the cybersecurity chain. While the role of culture in pursuing cybersecurity is well appreciated, research focusing on defining and measuring cybersecurity culture is still in its infancy. Furthermore, studies have shown that there are no widely accepted key concepts that delimit a cybersecurity culture. However, the notion that such a culture is not well-delineated has not prevented national governments from pursuing a culture in which all citizens behave in a way that promotes cybersecurity. As a result, many countries now offer national cybersecurity campaigns to foster a culture of cybersecurity at a national level. South Africa is among the nations that have identified cultivating a culture of cybersecurity as a strategic priority. However, there is an apparent lack of a practical plan to cultivate such a cybersecurity culture in South Africa. Thus, this study sought firstly to confirm from the existing body of knowledge that cybersecurity culture is indeed ill-defined and, secondly, to delineate what constitutes a national cybersecurity culture. Finally, and primarily, it sought to devise a national strategy that would assist SA in fulfilling its objective of cultivating a culture of cybersecurity on a national level.

S’khothane: Representation in, and influence on, contemporary visual arts practices For several years now, S’khothane youth culture has been viewed as a social ill. This view started after it received massive broadcast and print media coverage during the course of 2012. Crews claiming adherence to S’khothane were interviewed by investigative journalism programmes on two of South Africa’s most watched television channels, eTV and SABC1. While some townships1 in Gauteng claim to have been the birthplace of S’khothane, this subculture appears to be based on various other subcultures that preceded it. Cultures such as Swenkas (Umswenko), Sapeurs (La Sape) and Pantsula influenced various aspects of the S’khothane culture, from dance and poses, to dress style and performances. References made to S’khothane in studies by Mkhwanazi (2011) and Jones (2013a) as well as mass media coverage on programmes such as 3rd Degree (2015) and Cutting Edge, have generally been negative. Jones (2013a:210) describes S’khothane as a disruptive manifestation of consumption, which involves publicly destroying expensive designer clothes, shoes and accessories to show that these symbols of wealth are meaningless and easily replaceable. This study explores the representation of S’khothane in selected contemporary visual artworks and assesses any influence it might have on these artworks. The study also investigates public perceptions about the S’khothane youth culture and evaluates these against realities documented during data collection to determine whether the perceptions were premised on misconceptions. A group of participants was randomly selected from S’khothane events that took place in Fountains Valley (Pretoria), Soshanguve, Tembisa and other S’khothane gatherings held in places such as recreational parks and taverns. The participants were interviewed to gain insight into their perspective of the S’khothane culture, to establish the culture’s origin, its practises and elements. S’khothane is widely integrated and visually appropriated in the visual language of selected contemporary South African art practices. To this end, this research extends into a focused analysis of selected artworks in order to demonstrate how S’khothane influences selected contemporary visual arts practice in Gauteng. Through this approach, it becomes clear that these modes of representation embody no explicit moral judgement as one might find in investigative journalism programmes. There is a subtlety in the way S’khothane is represented by selected artists. In the Jamalaun Nxedlana artworks discussed, there is an element of realism depicted in the absence of manipulation through the documentation. On the other hand, Kudzanai Chiurai’s form of representation involves manipulation because he produced his visual artworks in a studio where he used props and had the ability to control the composition of the artwork. Nontsikelelo Veleko made a representation of various S’khothane elements including colourful clothes and accessories such as sunglasses. The study also investigates how S’khothane lifestyles, dance, poses, clothing and performances are trends shaped influenced by other subcultural historic groups such as Swenkas (Umswenko), Sapeurs (La Sape) and Pantsula; giving them fad status, whether it be morally correct or not. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)