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Thesis (M. Env. St.)--University of Adelaide, Mawson Graduate Centre for Environmental Studies, 1994? / Includes bibliographical references (leaves 68-74).

Thesis (Ph.D.)--Australian National University, 2003.

Thesis (D.Phil.)--University of Oxford, 2008. / Supervisor: Dr Cathie Lloyd. Bibliography: leaves 273-294.

Thesis (MPhil)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

Thesis (Doctor of Education--University of San Francisco, 2009). / Title from PDF title screen (University of San Francisco Libraries web site, viewed Sept. 16, 2009) Includes bibliographical references (p. 120-127).

Thesis (M.A.)--Carleton University, 1993. / Also available in electronic format on the Internet.

Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2003. / Description based on print version record. Includes bibliographical references (leaves 130-134).

Thesis (M.A.)--Miami University, Dept. of Geography, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], vi, 99 p. : ill. Includes bibliographical references (p. 77-93).

This thesis explores women and theatre for development in Swaziland. It focuses on how theatre for development is used as a tool in the development of women. Firstly, I examine the key concepts used throughout the thesis and I pay special attention to Theatre for Development. In the second chapter, I give an account of the country's history and pay special attention to the social status of women. In chapter 3, I examine the various forms of performance found in Swaziland and how they impact on the development of Swazi women. In the fourth chapter, I consider the evolution of literary practice in Swaziland and discuss two play-texts in English by H.I.E Dhlomo, a key literary figure and pioneer playwright of modem black drama in South Africa. I explore A Witch in My Heart by Hilda Kuper, a white anthropologist who lived in Swaziland in the mid twentieth century, and lastly. The Paper Bride by Zodwa Motsa, a contemporary Swazi writer. Next, in chapter 5, 1 investigate the first phase of Theatre for Development in Swaziland where non-governmental organizations, the Swazi Government and independent individuals worked together using Theatre for Development in Swazi communities. I consider first the workshops initiated by the youth. In chapter 6, I give an account of workshops involving whole communities and the kudliwa inhloko ebandla, a workshop that involved men only. In all these workshops 1 examine how they impacted on the development of women. I then conclude with a discussion of the findings of the study and their implications for the development of women.