This study is about the consequences of feminised migration on migrant women workers, on their families and on the Philippine society as a whole. The continued dependence on migration and increasingly, women‘s migration, by the Philippine government to address unemployment on one hand, and by the Filipino families on the other hand, to secure employment and a better life, has led to social change: change in migrant women‘s sense of identity and personhood; restructuring of households and redefinition of families and gender relations and the rise of a culture of migration. To understand these social changes, the study focuses on the return phase of migration situated within the overall migration process and adopts a gendered and feminist approach. Existing theories of return migration cannot adequately capture the meanings of the return of migrant women workers. Studying return through a gendered approach allows us to reflect on the extent migration goals have been achieved or not, the conditions under which return takes place for a migrant woman worker and various factors affecting life after migration for the migrant women and their families. Return of the women migrant workers cannot be neatly categorised as voluntary or involuntary. It is gendered. It is involuntary, voluntary, and mainly ambivalent. Involuntary return was influenced by structural limitations arising from the temporary and contractual type of migration in jobs categorised as unskilled. Voluntary return was mainly determined by the achievement of migration goals, the psychological need to return after prolonged absence and by the need to respond to concerns of families left behind. Ambivalent return was caused by the desire to maintain the status, economic power, freedom and autonomy stemming from the migrants' breadwinning role; the need to sustain the families‘ standard of living; as well as the apprehensions of a materially insecure life back home. The socio-psychological consequences on families and children of migrant women are deep and wide-ranging. Similarly, women migrants, though empowered at a certain level, had to face psychological and emotional consequences upon return influenced by persistent gender roles and gender regimes. By analysing the impact of gendered migration and return on the societal level, the study has broadened and deepened the conceptualisation of the phenomenon of culture of migration by bringing other elements and factors such as the role of the state, human resources, sustainable livelihood, national identity and governance.

Text in Afrikaans / Hierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le. / This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective. / Art History, Visual Arts & Musicology / M. Mus.

Text in Afrikaans / Hierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le. / This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective. / Art History, Visual Arts and Musicology / M. Mus.