Submitted in fulfilment of the requirement for the Degree of Masters in Technology: Marketing, Durban University of Technology, 2007. / The sardine run event has been hailed as a big tourism event, yet little is known about how the sardine run affects the economy as a tourism event. Although there are numerous articles to be found on the role of tourism events in economic upliftment, very little research has been done in South Africa on this particular event, especially relating to the indigenous community involvement and the financial gain achieved from the sardine run. The study was conducted in KwaZulu-Natal (South Africa) in the Ugu districts of Hibberdene and Margate, using qualitative and quantitative research methods. The sample for the study consisted of three hundred and twenty nine respondents above the age of 16. The respondents were selected using convenience sampling and had to complete a questionnaire with the assistance of an interviewer. The objective of the research was to determine the extent to which the indigenous community's services are being marketed during the sardine run events, and how the run contributes to the economic well-being of the inhabitants of the area. The results of the research revealed that a large percentage of the respondents knew about the sardine run, with males generally having a higher awareness level than females. This finding is important because females often play a major role as breadwinners in their families. The fact that females take a less active role in the sardine run indicates an opportunity that can be exploited by those involved in the sardine run, and by local governmental and non-governmental organisations whose task it is to improve the social and economic well being of the community. The main issue was that of participation, which is low. A low participation rate has implications for skills development and reflects an opportunity for central and local government, training and educational institutions, organisations involved in the sardine run and local businesses to provide training for unemployed or under-employed youth. / M

D.Phil. (Sociology) / In this thesis I am examining the National Union of Metalworkers of South Africa (NUMSA) and Solidarity‘s responses to technological changes at the ArcelorMittal (formerly known as Iron and Steel Corporation of South Africa (Iscor)) Vanderbijlpark Plant in the south of the Gauteng province between 1989 and 2012. As part of the restructuring plans of the Apartheid government, Iscor South Africa was privatised in 1989. At that time the plant was also in a process of restructuring, which included technological changes and work reorganisation, the objective of which was to prepare Iscor South Africa and the plant for competing in a global steel market. Therefore the subsequent technological changes in the plant were also part of the plant‘s positioning in the global competition of the steel market. The ownership of the plant by ArcelorMittal International after 2006 meant that the plant was fully integrated into the global steel market because it became part of the other global plants of the ArcelorMittal International Group in other parts of the world. Technological changes and work reorganisation led to a massive displacement of workers at Iscor South Africa. For example, in 1988, Iscor had about 59 000 employees and this number was reduced to about 9 300 employees in 2010. The key objective of the thesis is to conduct a sociological analysis of trade union responses to the technological changes at ArcelorMittal Vanderbijlpark Plant. One of the discoveries of this thesis is that both trade unions – Solidarity and NUMSA- were not proactive in responding to technological changes at the plant. They argued for more consultation on technological changes, training, and deployment of workers who had been displaced by machines, work reorganisation, and retrenchment packages for retrenched workers. Solidarity, a predominantly white workers‘ union, with its skilled workforce did not use its membership‘s strategic location at the point of production to help it proactively to respond to technological changes. On the other hand, NUMSA, a predominantly black union which was part of a vibrant antiapartheid movement with traditions of grooming worker intellectuals, did not respond proactively to technological changes at the plant.Even after the wave of restructuring and technological changes of the 1990s to early 2000s, both unions did not move away from a reactive approach towards a proactive approach to production technology. The two unions did not combine reproduction and production issues in their bargaining strategies. The unions were still focusing on wages or reproduction as a strategy of engaging factory owners. Production in the form of technological changes and work reorganisation was not being addressed by the union and yet changes in production processes play a major role in determining the number of workers in a plant and the profile of the workforce as shown in this thesis. The reactive responses of both trade unions and a focus on wages is theorised as reproduction reductionism. This means that unions tend to focus on wages and other spheres of income such as politics of ‗upward mobility‘ which play a central role in reproducing workers and their leaders. The focus on these issues means that the unions are prioritising reproduction over production. This then leads to management of the plant having free reign in the sphere of production and technological changes.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts. / This dissertation is a study of the iconology of paraphernalia produced by women, among the Ntwane. It represents the culmination of primary field research into the matelial culture of this group, as well as supplementary research conducted at the Africana Museum in Johannesburg, the South African Museum in Cape Town, the National Museumin B1u~!mfontein and the Duggan-Cronin Museumin Kimberley. My investigative methods consisted of unstructured interviews with both married and unmarried members of the Ntwane community at :Kwarrielaagte. Although the focus of my research was primarily on paraphernaIia produced and worn by women, I also interviewed Ntwane men in order to obtain a variety of interpretations and opinions as to the 'meanings' of the objects and traditions under analysis. In addition to the above mentioned field work and gallery research, I consulted a wide range of literature on critical theories, auch as marxism, structuralism end paststructuralism, 141 order to supplement my methodological approach to the iconology of women's art among the Ntwane. It also referred to literature on a number of traditional South. African groups, such as the Pedi and Ndebele. in order to identify the cross-cultural influ8nces between these groups and the Ntwane. The literature on these closely related However, this definition constitutes a gross oversimplification of the concept, for it doe) not allow for a shift in aesthetic criteria from culture to culture. It establishes the concept 'aesthetic' as an absolute, whereas in actuality, it is a value-laden term, whose problems of definition are exacerbated '.men attempting cross cultural research. It is therefore necessary at the outset of this dissertation to formulate a working definition of 'aesthetics' within the context of the Ntwane. It is suggeuted that the aesthetic componsnts of Ntwane objects include style. technique and medium, but extend beyond their formal qualities into activities such as ritual and custom. The socio-cultural activities performed by the Ntwane may be regarded as intrinsically significant to the formal characteristics of their paraphernalia. It may therefore be argued that their objects are the concrete. tangible manifestations of a set of underlying constructs. expressed in adherence to particular conventions of representation; furthermore, that the reduction of the aesthetic component of Ntwane objects to merely an ase ssment; of their formal criteria, would constitute an impoverishment of their levels of meaning. A formalist approach to the art of Ntwane women also fails to consider issues of change in the form and function of their paraphernalia and the effects of broader social transformations on the material culture of the Ntwane. Chapter One of my dissertation will comprise a brief survey of the literature on the Ntwane. In addition to identifying the existing information, methodological gaps in the literature will be mentioned. It is the partial aim of this dissertation to "fill in" some of the gaps by groups helped to shed light on signitficant aspects of Ntwane material culture, which in turn, provided me with greater insight into the iconology of their paraphernalia. / Andrew Chakane 2018

In this thesis, I engaged in a possibility of developing a Post-Heteronormative mission praxis with the black Pentecostal Christians and the sexual minorities in Polokwane, South Africa. The thesis critically examines the current heteronormative oriented mission praxis of the black Pentecostal Christians in Polokwane. It moves from the premise that the hegemonic position of heteronormativity within the black Pentecostal Christian’s circle in Polokwane needs to be problematized. I show in this thesis that the Christian church which challenged the social ill such as poverty, racism and apartheid in South Africa should take as its moral crusade the challenging of heteronormativity in the contemporary South Africa. Additionally, the re-reading of Biblical passage of scriptures when developing mission strategies is in a way recommended. Following the same recommendation, the sexual minorities in Polokwane are regarded as a type of the Good Samaritan. From a Samaritan who was marginalised because of his ethnicity however, Jesus placed him in a position of a good neighbour as presented in the Parable of the Good Samaritan. The black Pentecostal Christians in Polokwane are called to come out of their confines. They are further challenged to see the good in the lives of the sexual minorities. By doing that, they can in process discover the presence of God already at work in the lives of the sexual minorities. Consequently, the post-heteronormative mission praxis was defined in the following manner: Mission as going out to see the good in the lives of the sexual minorities. / Christian Spirituality, Church History and Missiology / D. Th. (Missiology)

The thesis looks at how the poets Sepamla, Serote, Gwala and Mtshali (SSGM) make concerted efforts to demonstrate how different forms of social activities have sought to whitewash black people in believing myths about themselves. These myths were perpetuated by the government of apartheid policies and its related bureaucratic organs like the education system. The fallacies were also communicated through biased literature and denigrating terminologies. The study analyses how the selected poems of SSGM set out to conscientize black people to realise how they had unconsciously accepted certain behaviours. This had led them to compare themselves to the “privileged cultures” and to strive to be identified with those who were in power and those who were despised and were therefore powerless. The main aim of this study is to demonstrate how the poetry of Sepamla, Serote, Gwala and Mtshali exposed the extent to which black people had been psychologically subjected to internalising negative views of who they were. From the title of the thesis we note a claim that conscientization was the motive behind the poetry of Sepamla, Serote, Gwala, and Mtshali. This claim was discerned from the poetry that was analysed. It was also deemed fit to verify this through structured interviews and questionnaires that were arranged and conducted with the poets. However the interviews did not include the late Sepamla who had been called to higher service by the time the research was conducted. The researcher’s interactions with the poets confirmed the claim that conscientization was indeed the motive behind their poetry. Aspects of peoples’ lives which had been targeted as tools for disempowering black people were experienced in the form of racism, apartheid policies, Bantustan institutions, and laws, demeaning terminologies, cultural superiority, and prejudiced beliefs, arts, music, literature, theatre and sport. An analysis of the poetry under review led to the conclusion that the poetry of SSGM was not protest poetry as some scholars had claimed. The aim of the poetry was not to instigate any militancy against oppressors but to make black people aware of their identity and to affirm them in their resistance against cultural hegemony. The study makes use of Marxist theories and specifically cites those aspects which relate to the tools used to analyse the poetry of SSGM. Georg Lukacs’s viewpoint that literature reflects the social reality of its time is applied to some of the selected poetry. Eagleton and Althusser talk about the formalization of literature which makes ideology to become visible to the reader. Gramsci says the task of producing and disseminating ideology is performed by organic intellectuals. Writers are regarded as organic intellectuals. In spite of the limiting circumstances the four black writers whose poetry is being considered, managed to conscientize people around issues that needed to be opposed or rejected. This study is significant in so far as it exposed how poetry of black selected writers conscientized people and indirectly contributed to the liberation of the oppressed in South Africa. It is suggested that further studies are undertaken to re-assess the role of literature written by the black writers during the apartheid regime. A special attention must be given to those literary works that were banned and reasons for such action by those who were hell bent on subjugating black people. One of the challenges encountered during the research was that some of the books were out of print. However, a thorough and persistent search did result in the final access to those books which were not easily available. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2013.

South Africa’s history of the disempowerment of black people (Africans, Coloureds, Indians, and Chinese), presented the post apartheid government after 1994 with problems of policy formulation around empowerment of the previously disadvantaged groups (PDGs). In the wine industry, one possible way of addressing inequality in the access to economic resources and racially skewed land redistribution is through empowerment labelling of wine. Empowerment labelling of wine may promote competitiveness of wine businesses owned by the PDGs. This will help to address inequality problems in the sector. Skinner (2007) demonstrated that empowerment labelling can benefit South African wine firms in international wine markets because empowerment and Fairtrade labelled wines benefit from import preference in most European Union (EU) countries. This study investigates one possible way in which empowerment labelling may benefit wine firms on the domestic markets for wine. Several wine brands with empowerment attributes are currently traded in domestic wine retail markets in South Africa. Very few of these wine brands are broad-based black economic empowerment (BBEE) brands. If South African wine consumers value black economic empowerment in the wine industry, empowerment attribute labelling may be used to identify empowerment products, and thereby promote the competitiveness of Black Economic Empowered wine businesses. This study sets out to quantify South African wine consumers’ willingness to pay (if any) for empowerment labelled wines. Data for the study were collected in 2007 and 2008. Two methods were used for this purpose using two case studies in the KwaZulu-Natal Midlands. The first method used a revealed preference technique to determine whether a price premium exists on the current wine prices or not. Using the hedonic price analysis technique, linear and log-linear hedonic price functions for wine for two wine retail outlets in the KwaZulu-Natal Midlands were used to estimate the price premium paid for empowerment attributes in this domestic wine retail market. Explanatory variables which were found to influence wine prices were Platter’s Wine Guide quality rating, Reputation of the winery, and BBEE. Tests on the statistical fit of the models using the Park Test and residual scatter plots indicated that the log-linear model had better data fit. These two models could not be compared using the more traditional R squared and F-statistics as they had different dependent variables. The second method used a stated preference technique to estimate wine consumers’ willingness to pay for empowerment attributes of wine in the Kwazulu-Natal Midlands. Personal interview surveys of consumers at a wine cellar were conducted. The monetary value of these consumers’ willingness to pay was quantified using conjoint analysis and the conditional logistic model. Although the revealed preference techniques for consumer willingness to pay for empowerment labels showed that a negative price premium exists for these wine attributes, the stated preference technique revealed a positive willingness to pay for empowerment attributes. The monetary values could not provide the actual willingness to pay as they tended to be close to the hypothetical price of wine used in the questionnaire. This might be attributable to the prices used in the questionnaire not capturing the average actual wine prices for this specific wine retail outlet. Therefore, the monetary values were used as indicators of the ordering of attribute importance by the consumers. The results also indicated that an information gap between consumers and producers may exist. This implies that, provided that consumers are made aware of these attributes, there may be potential for wine producers to earn a price premium on empowerment attributes. Further research is required to determine whether South African wine consumers (a) value empowerment attributes (using stated preference techniques), and (b) are aware of wine brands that have empowerment attributes. The results of this study would aid government in formulating policies that promote the competitiveness of empowerment attributes such as giving machinery or inputs procurement rebates to wineries that are broad-based empowerment compliant, and in so doing, improve the economic position of previously disadvantaged groups. / Thesis (M.Sc.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.

This is a comparative study of a selection of the works of H.I.E. and R.R.R. Dhlomo in an attempt to specify the ways in which both writers contributed to constructing a sense of African modernity. While the focus will be on the content of the writing, it will include an analysis of the form and style of the literature, as well as the historical and political setting of the work, and of the authors. By employing the theoretical work of Alain Locke, David Attwell and Tim Couzens, I will address the issue of how Herbert and Rolfes Dhlomo negotiate the issue of a Christian modernity, as well as the ambiguous relationship between tradition and modernity. Another matter that I will focus on is that of the differences and similarities of their writing, in terms of aesthetics and their positions vis-a-vis tradition, modernity and the role of the Black subject, among other topics. Some questions that I will address are whether they are both contributing to an African modernity, and in what sense, and whether Rolfes' work complements that of Herbert, and vice versa. This will be done through a close reading of selected works across a range of mediums, from literary texts such as plays, poems and short stories to the print media. In the Introduction I will outline the key theoretical work and definitions that I will make use of in my research, as well as give brief biographies of the two writers under examination. In Chapter One I will make a close reading of selected works of Herbert Dhlomo, and will attempt to show his changing role in the establishment of a sense of an African modernity. In Chapter Two the focus of my work will be selected prose fiction of Rolfes Dhlomo. I will examine the major themes of these works, and show how they pertain to a sense of an African modernity. In Chapter Three I will examine Rolfes Dhlomo's "R. Roamer Esq." column from the Bantu World. I have selected in particular the year 1941, and I will show how Rolfes Dhlomo used satire and topical issues to help in the creation of a sense of African modernity. The Conclusion deals with the findings of my research on the role that Herbert and Rolfes Dhlomo played in the creation of an African modernity in South Africa. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.

This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.

In the 1950s, apartheid policies in the Natal countryside served to oppress the majority of African women more than they had ever been before. Yet ironically, it was their being 'left behind' by the system of migrant labour that goaded them into taking overt action against their condition in 1959. The aim of this mini-dissertation is to trace and explain their struggle against "grand apartheid". These women were a force to be reckoned with, and the government of the day felt temporarily threatened by their actions. This study vehemently rejects the misconception that the African women of the rural areas of Natal were docile, slave-like individuals, who placidly accepted their position. The protest marches in the 1950's, more especially 1959, proved African women to be strong-willed and determined to succeed against all odds. These women emerge as anything but placid and docile. History has shown us that women's oppression is not simply a matter of equal rights or discrimination under the law. African women struggled to be recognised as human beings, no different from any other race. In the early 1950's African women, in most parts of South Africa, became more politically active. They played a significant role in the 1952 Defiance Campaign. Shortly after that a "Women's Charter" was adopted. It sought the liberation of all people, the common society of men and women. It took women like Lilian Ngoyi, who made history in 1956 by leading 20 000 women to the Union Buildings in Pretoria in protest against passes for women, to ignite rolling mass action in the various Provinces. This thesis tells of the contemporary struggle of African women in the 1950's, more especially 1959, in Natal. This is a tribute to the countless African women who have made courageous sacrifices in order for change. It is through their radical and somewhat aggressive stance that we have a lot to be thankful for today. We must be mindful of the fact that in the Apartheid era the law itself was used to oppress people. In our new-found democracy it is pleasing to note that the law is somewhat gender sensitive, so that it does not discriminate against men or women in its application. Many of us who research African women are mere observers, who digest what we read, hear and see. Many of us do not understand the complex African way of life. We tend to employ Eurocentric theories and assumptions, which instead serve as a handicap. Thus the African woman is seen as a victim of the African male, and of traditional customs and practices. We fail to see that African women did from the outset, have varying degrees of economic independence, and that colonialism was responsible for depriving African women of their political as well as economic status. These women can claim a degree of triumph in that in the wake of the mass protest action, it took the government years to implement its policy of passes for women. / Thesis (M.A.)-University of Natal, Durban, 1999.

Feminists have always taken an interest in the manner in which the media represents women. This is due to the fact that the media is always accused of representing women in an unfavourable manner. If not under-represented, women are objectified or used to perpetuate negative stereotypes about women in general. Research demonstrates that the media has moved from under-representation of women. However, equal representation to men or overrepresentation of women does not necessarily mean correct representation. This dissertation is based on the soapi opera Generations, a soapie where female characters outnumber male characters. The purpose of this dissertation is to look at the manner in which black African women characters' bodies are represented. The women characters' bodies have been studied as social constructions with an underlying message. Foucault's ideas of subjectivity were employed to look at the unlimited possibilities as well as limitations of the body. Subjectivity when looking at bodies have been analysed through the flexibility of bodies to be changed through discipline, body gestures as well as adornment with jewellery and other accessories. Moreover, the underlying culture behind the various constructions was studied. The findings were that in the soapi opera Generations, the representation of women characters' bodies was highly influenced by western culture. The choice of a character's body size, hair texture and complexion is mainly that which is defined as beautiful in western culture. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.