This dissertation presents an investigation into three works by the South African artist Pauline Gutter (b. 1980) that were originally shown in her exhibition Opslag (2008) [this title is almost impossible to translate; it can refer to the sound of a gun, or it can mean to butcher something; it has an association of suddenness]. The works that were selected for scrutiny in this dissertation are Uit die blou van onse hemel [translated as From our blue skies; or Ringing out of our blue heaven – the first words of the erstwhile South African anthem] (2004), Into the landscape I (2007), and Landskap naby Zastron [Landscape close by Zastron] (2006). The choice of works was based on the particular mode of and imaginative re-presentation of the landscape that can be discerned in each of these works – different, yet conceptually quite similar. I argue that Gutter‟s landscape works in the exhibition Opslag (as representative of the thematic concerns of the show as a whole) are indicative of an imaginative re-presentation of a liminal experience (which is informed to a large degree by the artist‟s acute awareness of the threat posed by cruel and rampant attacks on the farming community). This liminal experience, as embodied in the artworks, is in its turn a reflection of the liminal existence as lived and interpreted by the artist‟s perception of her environment and community – speficially, the Boer farming community of South Africa, and even more specificially, in the Free State Province. Those aspects of a liminal experience that can be gleaned from a reading of the selected works Uit die blou van onse hemel, Into the landscape, and Landskap naby Zastron, are powerlessness, instability, the transitory shift of status, disorientation, isolation, marginalisation, and uncertainty. I argue, furthermore, that the imaginative re-presentation of the liminal experience is achieved by means of certain strategies and approaches towards landscape painting that are associated with the sublime. Where the sublime, in the context of the re-presentation of the landscape is often associated with a sense of being overwhelmed, even with awe, I demonstrate that Gutter achieves what Coetzee (1988:49) refers to as a singularly distinct understanding of the sublime with reference to the unique character of the South African landscape. In this sense, specific themes associated with the sublime (portraying things like problems, the sudden and the unexpected, darkness [that connotes uncertainty], danger, fearsomeness, and emptiness [that relates to isolation]) can be related with elements of the liminal. By identifying the themes of sublime representation, the reading of the works demonstrate firstly Gutter‟s unique and distinct application of sublime landscape painting. Secondly, it emerges that the portrayal of the liminal is achieved by means of these strategies towards landscape painting, and thirdly, that the imaginative re-presentation of the liminal is suggestive of a particular dimension of the existence of the contemporary Boer/farming community. Gutter‟s reflection of and on the landscape demonstrate a particularly poignant projection of a theme onto the landscape, and seems to suggest that while the liminal experience is potentially a place of growth and renewal, it can also induce a sense of paralysis as a result of the overwhelming uncertainty experienced by the particular community. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

Afrikaans Deneys Reitz, die derde van president F.W. Reitz se vyf oorlewende seuns, is op 2 April 1882 te midde van die politieke en ekonomiese ontwaking van die Vrystaat in Bloemfontein gebore. Hy het op die ouderdom van 17 by die Boeremagte aangesluit en doen hier die ondervindinge op wat hy later in sy eerste boek, Commando: A Boer journal of the Boer war, weergee. Met die sluit van vrede weier hy om die eed van getrouheid teenoor Brittanje af te lê en wend hom na Madagaskar waar hy onder meer as ‘n transportryer werk. Hy keer in 1903, op aandrang van Isie Smuts, na Suid-Afrika terug, kwalifiseer as ‘n prokureur en open ‘n prokureurspraktyk in die Noordoos-Vrystaatse dorp Heilbron. Gedurende die 1914-rebellie skaar hy homself aan die Botha-Smuts regering se kant en voer hy die Heilbronkommando aan teen die rebelle. Tydens die Eerste Wêreldoorlog sluit hy hom aanvanklik by Botha en Smuts in Duits-Suidwes-Afrika aan en daarna by die Britse leër in Brittanje. Hy spandeer die meeste van die Eerste Wêreldoorlog in die loopgrawe aan die Wesfront in Frankryk en vorder tot die rang van kolonel in bevel van ‘n bataljon van die First Royal Scots Fusiliers. Met sy terugkeer na Suid-Afrika in 1920 wend hy hom tot die politiek en as lid van die Suid-Afrikaanse Party verteenwoordig hy eers Bloemfontein-Suid (1920) en later Port Elizabeth. Vanaf 1929 verteenwoordig hy Barberton. Hy dien aanvanklik in die parlement as Minister van Lande, waar hy onder meer betrokke raak by wetgewing i.v.m. die totstandkoming van die Krugerwildtuin. Hy dien ook as Minister van Lande in die koalisie kabinet van J.B.M. Hertzog (1933) en daarna as Minister van Landbou en Bosbou (1935), Minister van Mynwese (1938), Minister van Naturellesake (1939) en as adjunkpremier in Smuts se Oorlogskabinet (1939-1943). Vir die periode van 1924 tot 1933 dien hy as deel van die amptelike opposisie, terwyl hy hoofsaaklik as ‘n prokureur in Johannesburg werk. In dié periode het hy ook uitgebreide private- en sakereise na onder meer Noord- en Suid-Rhodesië, die Belgiese Kongo en die Kaokoveld in Suidwes-Afrika onderneem. Sy bekendheid het hy grootliks verwerf uit die publikasie van sy herinneringe van die Anglo Boereoorlog, gepubliseer as Commando in 1929. Dit is erken as ‘n boek van uitstaande gehalte en word beskou as ‘n klassieke werk oor die Anglo-Boereoorlog. Die res van sy lewe, vanaf 1902 tot 1940, het hy in die boeke Trekking on en No outspan beskryf. Deneys Reitz was getroud met Leila Agnes Buissine Reitz (13/12/1887 – 29/12/1959). Sy was Suid-Afrika se eerste vroulike parlementslid en het Parktown verteenwoordig. Leila was veral by maatskaplike werk betrokke en het spesifiek op kinders en kindermisdadigers gefokus. Deneys en Leila het twee seuns gehad - Jan en Michael. Weens swak gesondheid word Reitz in 1943 as Hoë Kommissaris in Londen aangestel, waar hy in 1944 sterf. English Deneys Reitz, the third of president F.W. Reitz’s five living sons, was born in Bloemfontein on 2 April 1882 during the political and economical awakening of the Orange Free State. As a boy of seventeen he joined the Boer forces in the Anglo-Boer War, gaining the experience he set down in his first book, Commando: A Boer journal of the Boer war. After the peace he was an irreconcilable and lived as a transport rider in Madagascar, returning to South Africa in 1903 after prompting by Isie Smuts. He qualified as an attorney and practiced in the town of Heilbron in the north-east Free State. During the 1914 rebellion he commanded the Heilbron Commando against the rebels in support of the Botha-Smuts government. During World War I he first joined Botha and Smuts in German South West Africa and then in German East Africa, where after he enlisted with the British Army. He spent most of the First World War in the trenches in France, where he rose to command a battalion of the First Royal Scots Fusiliers. Upon his return to South Africa he entered Parliament in 1920 as a member of the South African Party, representing first Bloemfontein South (1920) and later Port Elizabeth. He represented Barberton from 1929. He initially held the portfolios of Lands (1923-24), becoming involved in developing legislation for the establishment of the Kruger National Park. He also served as Minister of Lands in the coalition government of J.B.M. Hertzog (1933), Minister of Agriculture and Forestry (1935), Minister of Mines (1938), Minister of Native Affairs (1939) and as deputy premier in Smuts’ War Cabinet (1939-1943). Reitz was a member of the formal opposition from 1924 to 1933, while also working as an attorney in Johannesburg. In this period he travelled extensively in both his private and official capacities to North and South Rhodesia, the Belgian Congo and the Kaokoveld in South West Africa. His real claim to fame, however, arises from his memoirs of the Anglo-Boer War, which he published under the title of Commando in 1929. This was immediately recognised as a work of outstanding quality and has become a South African classic on the Anglo Boer War. Later he wrote Trekking on and No outspan, continuing the story of his career. Deneys Reitz was married to Leila Agnes Buissine Reitz (13/12/1887 – 29/12/1959), the first South African women elected to parliament. She was member for Parktown. Leila, who was involved in welfare work, focused on children and delinquents. Deneys and Leila had two sons of their own - Jan en Michael. Due to ill health Reitz was appointed Union High Commissioner in London in 1943, where he later passed away. / Thesis (DPhil)--University of Pretoria, 2009. / Historical and Heritage Studies / unrestricted

Die verhandeling begin met 'n beknopte oorsig oor die plek en aard van plaaslike geskiedenis in Westerse en Suid-Afrikaanse historiografie. Machadodorp se geografiese ligging, sowel as fisiese faktore soos geografie en klimaat was bepalend tydens die vroeë vestigingsgeskiedenis. Uit argeologiese navorsing wat in die groter streek gedoen is, is vasgestel dat Steentydperkmense, Ystertydperkmense en swart gemeenskappe soos die Koni, Pedi en Swazi van die vroegste inwoners van die gebied was. Gedurende die laaste helfte van die negentiende eeu het die eerste wit setlaars die gebied binnegekom. Die bou van die hoofspoorlyn, die Oosterlijn, na die Portugese hawe Delagoabaai was belangrik vir die behoud van die politieke en ekonomiese onafhanklikheid van die ZAR. Die geskiedenis van die opmeet, bou en ontwikkeling van hierdie spoorlyn en die ontstaansgeskiedenis van Machadodorp is nou verweef. Aanvanklik was albei nedersettings, Machadodorp en Carolina, deel van die Lydenburglanddrosdistrik. Toe Carolina in 1893 tot onafhanklike landdrosdistrik geproklameer is, moes die ZAR-regering uitsluitsel gee tot watter distrik Machadodorp sou hoort. Die uiteindelike besluit dat dit deel van die Lydenburg-landdrosdistrik moes bly, sou vir Machadodorp en omgewing langdurende administratiewe gevolge inhou. Die Anglo-Boereoorlog was die mees ingrypende gebeurtenis in Machadodorp se geskiedenis voor 1904. Nadat Pretoria, die hoofstad van die ZAR, deur die Britse magte beset is, het Machadodorp die tydelike regeringsetel van die ZAR geword (5 Junie 1900 tot 27 Augustus 1900). Die Britse troepe het Machadodorp op 28 Augustus 1900 beset en op 1 September 1900 het lord Roberts, die opperbevelhebber van die Britse troepe in suider-Afrika, die Transvaal as deel van die Britse ryk geproklameer. Britse troepe was op die dorp tot na die vredesluiting in 1902. Die verhandeling word afgesluit met 'n bespreking van die administratiewe proses waarvolgens Machadodorp tot dorp geproklameer is. Hierdie proses, wat deur die uitbreek van die oorlog onderbreek is, is tydens die koloniale tydperk voltooi. Op 30 Desember 1904 is Machadodorp tot dorp geproklameer en het die eerste fase in die dorp se ontwikkelingsgeskiedenis tot 'n einde gekom. ENGLISH : The dissertation begins with a brief review of the nature and status of local history in Western and South African historiography. The geographic location of Machadodorp as well as physical factors, such as geology and climate, determined early settlement patterns. From archaeological research in the area it was determined that the earliest inhabitants of the greater Machadodorp area were Stone Age people, Iron Age people and black communities, such as the Koni, Pedi and Swazi. During the last half of the nineteenth century the first whites settled in the region of Machadodorp. To retain their political and economic independence the ZAR had to obtain a non- British route to the outside world. This idea could only be realized if a railway line, the Oosterlijn, was built to the Portuguese harbour of Delgoa Bay. There is a very close link between the surveying, planning, building and development of this railway line and the history of the establishment of Machadodorp. Initially, the two settlements, Machadodorp and Carolina were part of the Lydenburg magisterial district. When Carolina was proclaimed an independent magisterial district in 1893, the ZAR government had to make a decision regarding the district to which Machadodorp would belong. The eventual decision that Machadodorp should remain part of the Lydenburg magisterial district resulted in long term administrative consequences for the Machadodorp area. The Anglo Boer War was the most influential event in the history of Machadodorp prior to 1904. After Pretoria, the capital of the ZAR was occupied by the British forces Machadodorp became the temporary seat of the ZAR government (5 June 1900 – 27 August 1900). On 28 August 1900 the town was occupied by the British troops and on 1 September 1900 Lord Roberts, Commander-in-chief of the British troops in Southern Africa, proclaimed the Transvaal as part of the British Empire. The British troops remained in Machadodorp until after the peace negotiations in 1902. The dissertation concludes with a discussion of the process by which Machadodorp was proclaimed a town. This process which started before the outbreak of the war was disrupted by the war and was only completed after the war. On 30 December 1904 Machadodorp was proclaimed a town, whereby the first phase in Machadodorp’s developmental history was concluded. / Dissertation (MA)--University of Pretoria, 2011. / Historical and Heritage Studies / unrestricted

No description available.

Text in Afrikaans / This thesis entitled The contribution of Erich Mayer towards the establishment of an aesthetic consciousness and the promotion of an art identity in South Africa to the end of the 1930s, is a study of the ideas, ideals and contributions of the German-Jewish artist Erich Mayer concerning the establishment of a national art identity in South Africa. Mayer was born in Germany in 1876. Because of ill health he came to South Africa, where he settled in 1898 and developed an affinity with the Afrikaner pioneers in the rural areas. This natural connection with the Afrikaner pioneers was the main motivation behind his participation in the Anglo-Boer War. With his sound European background and training at various art academies in Berlin and Stuttgart, he soon realised that a knowledge of European art history or any awareness of an aesthetic consciousness concerning the fine and applied arts was sadly lacking within the general South African community and more specifically amongst the early Afrikaners. As a student, Mayer developed a keen interest in traditional German arts and crafts, which, according to him, contributed to the specific national Germanic character. This interest prompted him to conduct research and document examples of folk art among the Afrikaners as well as other indigenous communities, in an attempt to establish an aesthetic awareness in South Africans, and more specifically among Afrikaners. Mayer was of the opinion that the development and marketing of these cultural objects and artefacts would contribute towards a unique art identity with a strong South African national character. Apart from his interests in the fine and applied arts, Mayer also researched the vernacular architecture, furniture design and household articles of both Afrikaner pioneers and Africans. He travelled widely in South Africa, researching his interests and presented lectures on these themes which he published in newspapers and magazines in an effort to create an awareness of the rich indigenous folk art. / Hierdie proefskrif is 'n studie oor die bydrae van die Duits-Joodse kunstenaar Erich Mayer tot die vestiging van 'n estetiese bewussyn en die bevordering van 'n kunsidentiteit in Suid-Afrika tot aan die einde van die 1930's. Mayer is in 1876 in Duitsland gebore. Weens gesondheidsredes het hy hom in 1898 in Suid-Afrika gevestig waar hy veral met die Boerepioniers op die platteland geidentifiseer het em hom gou tuis gevoel het in die landelike milieu. Hierdie natuurlike toegeneentheid tot die vroee Afrikaners het aanleiding gegee tot sy later deelname aan die Anglo-Boereoorlog. Met sy grondige Europese agtergrond en opleiding aan verskillende kunsakademies in Berlyn en Stuttgart, het Mayer gou besef dat die Suid-Afrikaanse gemeenskap in die algemeen, maar veral die vroee Afrikaners in die besonder, 'n algehele gebrek geopenbaar het aan enige Euopese kunshistoriese kennis of enige estetiese bewussyn oor die beeldende en toegepaste kunste. Mayer is vroeg reeds blootgestel aan en het besonder belanggestel in die kunshandwerk van die Duitsers wat deel uitgemaak het van eeue-oue Duitse tradisies en wat bygedra het tot die unieke nasionale volksaard van die Duitsers. Met hierdie belangstelling het Mayer stelselmatig begin om die unieke kunshandwerk van die Afrikanerpioniers te versamel. Hy het hier 'n geleentheid gesien om via voorbeelde van plaaslike kunshandwerk 'n estetiese bewussyn by die Suid-Afrikaans gemeenskap en meer spesifiek by die Afrikaner aan te wakker. Mayer was van mening dat die sinvolle ontwikkeling en bemarking van hierdie kulturele voorwerpe en ontwerpe daartoe sou kon bydra om 'n eie kunsidentiteit met sterk nasionale karakter in Suid-Afrika tot stand te bring. Wat die beeldende en toegepaste kunste betref, het Mayer 'n wye belangstellingsveld gehad en het hy ook omvattende navorsing oor die inheemse boukuns, meubelontwerpe en kunshandwerkartikels van die vroee Boerepioniers, asook oor die van die inheemse bevolkingsgroepe, onderneem. Hy het die land deurreis op soek na geskikte voorbeelde van kunshandwerkartikels, gereeld lesings aangebied en artikels gepubliseer, die alledaagse Boerelewe op die platteland visueel gedokumenteer en op die manier 'n besondere ryk nalatenskap daargestel. / History / D. Litt et Phil. (Geskiedenis)

Jews were present in Pietersburg [Polokwane] from the time of its establishment in 1868. They came from Lithuania, England and Germany. They were attracted by the discovery of gold, land and work opportunities. The first Jewish cemetery was established on land granted by President Paul Kruger in 1895. The Zoutpansberg Hebrew Congregation, which included Pietersburg and Louis Trichardt was established around 1897. In 1912, Pietersburg founded its own congregation, the Pietersburg Hebrew Congregation. A Jewish burial society, a benevolent society and the Pietersburg-Zoutpansberg Zionist Society was formed. A communal hall was built in 1921 and a synagogue in 1953. Jews contributed to the development of Pietersburg and held high office. There was little anti-Semitism. From the 1960s, Jews began moving to the cities. The communal hall and minister's house were sold in 1994 and the synagogue in 2003. Only the Jewish cemetery remains in Pietersburg. / Religious Studies & Arabic / M.A. (Judaica)

Despite the place that the Light Horse occupies in Australia???s military history and the national martial mythology, there has not yet been a scholarly attempt to investigate the evolution and development of Australia???s mounted branch. This thesis is the first attempt to fill this gap in our knowledge and understanding of the history of the Australian Army. In doing so it will consider the ways in which the Light Horse evolved, the place it had in defence thinking, the development of its doctrine, its organisational changes and the way in which that organisation and its men interacted with their society. This thesis firstly analyses the role and place of the mounted soldier in the British and colonial/dominion armies in the late nineteenth and early twentieth centuries before going on to examine what effects the debates about this had on the development of Australia???s mounted troops. It will find that in the nineteenth century the disparate mounted units of the Australian colonies were established mainly along the organisational model of the mounted rifleman. Influenced by social ideas about citizen soldier horsemen and a senior officer with firm views, this model continued to be used by the new Light Horse until well into the First World War. During that war it was gradually discovered that this military model had its limitations and by the end of the war much of the Light Horse had become cavalry. This discovery in turn meant that during the inter-war period cavalry continued to be part of the army. Analysed in depth also are the many organisational changes that affected the mounted branch during its existence. Some of these reflected doctrinal and tactical lessons, and others were the result of various plans by the government and military authorities to improve the army. It will be seen that regardless of these plans part-time citizen horse units continued to have many problems and they rarely came to be what the government wanted of them. That they were as strong as they were was testimony to the efforts of a dedicated and enthusiastic few.

Despite the place that the Light Horse occupies in Australia???s military history and the national martial mythology, there has not yet been a scholarly attempt to investigate the evolution and development of Australia???s mounted branch. This thesis is the first attempt to fill this gap in our knowledge and understanding of the history of the Australian Army. In doing so it will consider the ways in which the Light Horse evolved, the place it had in defence thinking, the development of its doctrine, its organisational changes and the way in which that organisation and its men interacted with their society. This thesis firstly analyses the role and place of the mounted soldier in the British and colonial/dominion armies in the late nineteenth and early twentieth centuries before going on to examine what effects the debates about this had on the development of Australia???s mounted troops. It will find that in the nineteenth century the disparate mounted units of the Australian colonies were established mainly along the organisational model of the mounted rifleman. Influenced by social ideas about citizen soldier horsemen and a senior officer with firm views, this model continued to be used by the new Light Horse until well into the First World War. During that war it was gradually discovered that this military model had its limitations and by the end of the war much of the Light Horse had become cavalry. This discovery in turn meant that during the inter-war period cavalry continued to be part of the army. Analysed in depth also are the many organisational changes that affected the mounted branch during its existence. Some of these reflected doctrinal and tactical lessons, and others were the result of various plans by the government and military authorities to improve the army. It will be seen that regardless of these plans part-time citizen horse units continued to have many problems and they rarely came to be what the government wanted of them. That they were as strong as they were was testimony to the efforts of a dedicated and enthusiastic few.

Jews were present in Pietersburg [Polokwane] from the time of its establishment in 1868. They came from Lithuania, England and Germany. They were attracted by the discovery of gold, land and work opportunities. The first Jewish cemetery was established on land granted by President Paul Kruger in 1895. The Zoutpansberg Hebrew Congregation, which included Pietersburg and Louis Trichardt was established around 1897. In 1912, Pietersburg founded its own congregation, the Pietersburg Hebrew Congregation. A Jewish burial society, a benevolent society and the Pietersburg-Zoutpansberg Zionist Society was formed. A communal hall was built in 1921 and a synagogue in 1953. Jews contributed to the development of Pietersburg and held high office. There was little anti-Semitism. From the 1960s, Jews began moving to the cities. The communal hall and minister's house were sold in 1994 and the synagogue in 2003. Only the Jewish cemetery remains in Pietersburg. / Religious Studies and Arabic / M.A. (Judaica)

Text in Afrikaans / This thesis entitled The contribution of Erich Mayer towards the establishment of an aesthetic consciousness and the promotion of an art identity in South Africa to the end of the 1930s, is a study of the ideas, ideals and contributions of the German-Jewish artist Erich Mayer concerning the establishment of a national art identity in South Africa. Mayer was born in Germany in 1876. Because of ill health he came to South Africa, where he settled in 1898 and developed an affinity with the Afrikaner pioneers in the rural areas. This natural connection with the Afrikaner pioneers was the main motivation behind his participation in the Anglo-Boer War. With his sound European background and training at various art academies in Berlin and Stuttgart, he soon realised that a knowledge of European art history or any awareness of an aesthetic consciousness concerning the fine and applied arts was sadly lacking within the general South African community and more specifically amongst the early Afrikaners. As a student, Mayer developed a keen interest in traditional German arts and crafts, which, according to him, contributed to the specific national Germanic character. This interest prompted him to conduct research and document examples of folk art among the Afrikaners as well as other indigenous communities, in an attempt to establish an aesthetic awareness in South Africans, and more specifically among Afrikaners. Mayer was of the opinion that the development and marketing of these cultural objects and artefacts would contribute towards a unique art identity with a strong South African national character. Apart from his interests in the fine and applied arts, Mayer also researched the vernacular architecture, furniture design and household articles of both Afrikaner pioneers and Africans. He travelled widely in South Africa, researching his interests and presented lectures on these themes which he published in newspapers and magazines in an effort to create an awareness of the rich indigenous folk art. / Hierdie proefskrif is 'n studie oor die bydrae van die Duits-Joodse kunstenaar Erich Mayer tot die vestiging van 'n estetiese bewussyn en die bevordering van 'n kunsidentiteit in Suid-Afrika tot aan die einde van die 1930's. Mayer is in 1876 in Duitsland gebore. Weens gesondheidsredes het hy hom in 1898 in Suid-Afrika gevestig waar hy veral met die Boerepioniers op die platteland geidentifiseer het em hom gou tuis gevoel het in die landelike milieu. Hierdie natuurlike toegeneentheid tot die vroee Afrikaners het aanleiding gegee tot sy later deelname aan die Anglo-Boereoorlog. Met sy grondige Europese agtergrond en opleiding aan verskillende kunsakademies in Berlyn en Stuttgart, het Mayer gou besef dat die Suid-Afrikaanse gemeenskap in die algemeen, maar veral die vroee Afrikaners in die besonder, 'n algehele gebrek geopenbaar het aan enige Euopese kunshistoriese kennis of enige estetiese bewussyn oor die beeldende en toegepaste kunste. Mayer is vroeg reeds blootgestel aan en het besonder belanggestel in die kunshandwerk van die Duitsers wat deel uitgemaak het van eeue-oue Duitse tradisies en wat bygedra het tot die unieke nasionale volksaard van die Duitsers. Met hierdie belangstelling het Mayer stelselmatig begin om die unieke kunshandwerk van die Afrikanerpioniers te versamel. Hy het hier 'n geleentheid gesien om via voorbeelde van plaaslike kunshandwerk 'n estetiese bewussyn by die Suid-Afrikaans gemeenskap en meer spesifiek by die Afrikaner aan te wakker. Mayer was van mening dat die sinvolle ontwikkeling en bemarking van hierdie kulturele voorwerpe en ontwerpe daartoe sou kon bydra om 'n eie kunsidentiteit met sterk nasionale karakter in Suid-Afrika tot stand te bring. Wat die beeldende en toegepaste kunste betref, het Mayer 'n wye belangstellingsveld gehad en het hy ook omvattende navorsing oor die inheemse boukuns, meubelontwerpe en kunshandwerkartikels van die vroee Boerepioniers, asook oor die van die inheemse bevolkingsgroepe, onderneem. Hy het die land deurreis op soek na geskikte voorbeelde van kunshandwerkartikels, gereeld lesings aangebied en artikels gepubliseer, die alledaagse Boerelewe op die platteland visueel gedokumenteer en op die manier 'n besondere ryk nalatenskap daargestel. / History / D. Litt et Phil. (Geskiedenis)