The post-apartheid government inherited an urban housing backlog of approximately 1.3 million units at its inception in 1994. This huge backlog was partially contributed by apartheid discriminatory administrations and laws such as the Black (Native) Laws Amendment Act, No 46 of 1937 and the Black Communities Development Act, No 4 of 1984 along with rapid urbanization during the post-apartheid period. In a bid to address past injustice related to housing, it has become necessary for the post-apartheid government to diversify housing delivery approach to include alternative development and delivery strategies, methodologies and products including upgrading of informal settlements, and increasing rental stock. The human settlements department also encouraged the establishment and implementation of self-help housing through the establishment of the People Housing Process (PHP). It is the implementation of this programme that led to the establishment of the SACTSP aimed at enhancing South African housing service delivery using Cuban experience. The programme has been implemented in the South African human settlements sector since 2002. The focus of this research is to evaluate the impact of the South African Cuban Technical Support Programme (SACTSP) in the lives of the South African housing beneficiaries. The collected and analysed data, to a large degree, confirmed the effect of the programme in the lives of the beneficiaries. The research design of the study is a multiple Case Studies approach. The scope of the study is the three provinces participating in the SACTSP, which are Mpumalanga (MP), Western Cape (WC), and Limpopo (LP). The intention was to have both the control group and the intervention group in the same province, but due to the over usage of the CTA’s in these provinces the researcher decided to use Gauteng Province (GP), a non-participating province in the programme, as a control group. This is also due to the fact that the province (Gauteng) is also commonly known for publicly criticising the effectiveness of the SACTSP programme. Data was collected in three housing projects from the three Gauteng Metropolitan Municipalities Tshwane, Ekurhuleni and City of Johannesburg. The selected projects were Mamelodi Extension 5 in Tshwane, Villa Lisa (Boksburg) in Ekurhuleni and Driekiek Extension 3 in Orange Farm, Johannesburg. The selected projects where the CTAs participated (experimental group) were Chicago Bulls at Strand in Cape Town (WC), Thekwane South Housing Projects, Nelspruit in Mpumalanga and Westernburg at Polokwane in Limpopo Province. In each unit of evaluation, questionnaires to collect data were distributed to the rightful owners (beneficiaries) of the houses, who were above eighteen years of age. (Annexure A). The participants, all rightful owners of state subsidies, were identified by means of purposive sampling. The main goal of purposive sampling is to focus on particular characteristics of a population that are of interest, which will best enable the researcher to answer the research questions Semi-structured interview questions were also conducted to the main stakeholders in the housing circle. This includes officials in all spheres of government involves in delivering sustainable human settlements (Annexure B). The selection is also influenced by what is called the “good enough” rule in formulating evaluation research (Rossi et al., 2012:28). Stated simply the “good enough” rule advocates that the evaluator should choose the strongest possible design from a methodological stand point after having taken into account the potential importance of the results, the practicality and feasibility of each design and the probability that the design chosen will produce useful and credible results (Rossi et al., 2012:33) The collected data was analysed and presented in five principal stages involving descriptive and inferential statistics. The first phase involves presenting the reliability of the instrument using Cronbach’s alpha. The second phase presents the descriptive statistics of the sample using frequencies, and proportions for categorical data and means and standard deviations for continuous variables. The validity of the instrument then follows using exploratory factor analysis which explains the observed variables that are linked to underlying factors. The fourth phase involves calculation of composite variables using the means and averages to determine the trend patterns in the data. The central limit theorem was applied to the data and comparative analyses were done to determine whether views differed by socio-demographic variables. The two sample independent t-tests were done to determine whether views of the respondents differed for two-categorical variables and the one-way Analysis of Variance (ANOVA) was used to determine whether views differ for variables with more than two categories. The fifth stage presented the correlation analysis which was used to determine the extent or degree of the relationship between the constructs. The findings of the studies confirm the effectiveness of the programmes in the participating provinces. The study also discovered that, CTA’s are mostly transferring skills to contractors who happened to be working close to the CTAs and only to beneficiaries in a few instances. This is due to the nature of the self-help model that the South African government adopted which involves private contractors in building PHP houses. This model ignores the national PHP policy and guidelines which recognise beneficiaries as the main drivers of the PHP. The study concludes by recommending the department policy makers to monitor and enforce correct implementation of formulated policy to close the gaps that are usually created between policy formulation and implementation. / Public Administration and Management / D. Admin. (Public Administration)

The objective of this thesis draws on my experience acquired during the internship in Galeria De Arte Servando in Havana, where I have been given the opportunity to learn about Cuban culture as well as to witness the restrictions and difficulties in gallery activities due to the communist government. The first part of the thesis focuses on historical facts highlighting the art exchange between Czechoslovakia and Cuba, a common part of running the state institution in the past. It was a common practice both in Havana´s House of Czechoslovak Culture and in the House of Cuban Culture in Prague. After the collapse of the Soviet Union, both houses were closed and the Czechoslovak-Cuban relations in art and culture have never been restored. The study subsequently discusses the concept and realization of the exhibition prepared in collaboration with Cuban curator Yenisel Osuna Morales. The aim of the thesis is to try to initiate a dialogue between two countries, Cuba and the Czech Republic (former Czechoslovakia), countries with many differences, and probably even estranged nowadays. However, their relations were warm before, and they could be in many ways an inspiration. The primary outcome of this thesis is the exhibition project aimed at the topic of censorship in independent art, its influence on gallery activities and freedom of artistic expression in Cuba. The selection of cuban artists carried out by curator Yenisel Osuna Morales represents the topic of pluriculturalism, migration and diaspora. By means of exhibition exchange, I would like to refer to the terminated friendship between Cuba and former Czechoslovakia in the field of art. The purpose of these exhibitions is not only to present Czech contemporary art in Cuba but also to present Cuban art in the Czech Republic without any restrictions.

Ce travail contient une première caractérisation générale du discours de la communauté cubaine à Montréal, avec une attention particulière sur deux aspects: le comportement de certains traits qui caractérisent l'espagnol de Cuba chez les locuteurs migrants, et les possibles variations produites par le contact linguistique. Pour ce faire, nous utilisons les données d'un corpus élaboré par la chercheuse à partir de conversations semi-dirigées enregistrées (registre colloquial) avec 19 Cubains: dix hommes et neuf femmes vivant à Montréal. L'analyse des données nous permet de vérifier que les traits caractéristiques étudiés se sont conservés dans le discours des Cubains résidants dans la ville, mais quelques variations se sont produites, provoquées par le contact avec les langues dominantes (français-espagnol, et moins en anglais-espagnol) et d'autres variétés de l'espagnol, ainsi qu’avec une réalité socio-économique, politique et culturelle très différente de celle d’origine. Les variations morphosyntaxiques ont été détectées principalement dans les mots invariables (prépositions). Au niveau lexico-sémantique, nous avons trouvé essentiellement des emprunts lexicaux. Il existe également des prêts sémantiques, des calques et des changements de fréquence de certains mots. Concernant le niveau pragmatique, nous avons remarqué un ralentissement du rythme dans les conversations de l'échantillon qui pourrait être dû à la situation du bilinguisme fonctionnel. En résumé, le discours des Cubains participants dans cette étude montre quelques-uns des traits caractéristiques à toute situation de contact de langues, mais aussi des particularités relatives aux caractéristiques de la communauté étudiée (les attitudes linguistiques, par exemple), à la distance typologique entre les langues impliquées (espagnol et français) et au contraste entre les sociétés d’origine et d’accueil, entre autres. / This paper presents a first general characterization of the speech of the Cuban community in Montreal, with special attention to two aspects: the behavior of some of the characterizing features of Cuban Spanish in migrant speakers, and the possible contact-induced variations. To do this, we use data from a corpus collected by the researcher through recorded conversations (colloquial speech) with 19 Cubans: ten men and nine women currently living in Montreal. After analyzing the data, we have found that the characterizing features are preserved in the speech of Cuban residents in the city. The data also show some variations induced by the contact with the dominant languages (French-Spanish and, to a lesser extent, English-Spanish) band other varieties of Spanish, as well as with a new reality that is socio-economically, politically and culturally very different from the Cuban one. The detected variations at the morphosyntactic level are mainly in invariable words (prepositions).At the lexical-semantic level, we have found predominantly loanwords. There are also semantic loans, calques and frequency changes of some words. Concerning the pragmatic level, a slower rhythm of speech, possibly due to the condition of functional bilingualism, has been observed. In sum, the speech of the Cuban participants in this study shows some of the characteristic features of any language contact situation, but also has peculiarities relating to the characteristics of the community under study (language attitudes, for example), the typological distance between the languages involved (Spanish-French) and the contrast between the societies, among other factors. / El presente trabajo contiene una primera caracterización general del habla de la comunidad cubana en Montreal, atendiendo especialmente a dos aspectos fundamentales: el comportamiento de algunos de los rasgos tipificantes del español de Cuba en hablantes migrantes, y las posibles variaciones sufridas producto del contacto lingüístico (francés-español, y en menor medida inglés-español). Para ello, empleamos los datos de un corpus confeccionado por la propia investigadora gracias a las conversaciones semidirigidas grabadas (habla coloquial) con 19 cubanos: diez hombres y nueve mujeres residentes en Montreal. El análisis de los datos nos permite comprobar que los rasgos tipificantes objeto de estudio se conservan en el habla de los cubanos residentes en la ciudad, pero esta ha sufrido algunos cambios provocados por el contacto con las lenguas dominantes y con otras variedades del español, así como con una realidad muy diferente a la de origen desde el punto de vista socioeconómico, político y cultural. Las variaciones se han detectado tanto en el nivel morfosintáctico, principalmente en las palabras invariables (preposiciones), como en el nivel léxico-semántico. En este último, predominan los préstamos léxicos. También se observan préstamos semánticos, calcos y cambios de frecuencia de algunas palabras. Desde el punto de vista pragmático, es posible observar una mayor lentitud en el ritmo de habla de los informantes, que podría deberse a la condición de bilingüismo funcional. Con todo, el habla de los cubanos participantes en este estudio presenta algunos de los rasgos característicos de cualquier situación de contacto lingüístico, pero posee también peculiaridades debidas a las características propias de la comunidad objeto de estudio (actitudes lingüísticas, por ejemplo), a la distancia tipológica de las lenguas implicadas (español-francés) y al contraste entre las sociedades de origen y de acogida, entre otros factores.

Este estudio propone hacer un ensayo dando énfasis los motivos temporales y estructurales en las obras Los pasos perdios (1946) y Guerra del tiepo (1958) de Alejo Carpenter, gran novelista y cuentista cubano del momento. Carpenter obliga al lector a notar nuevos conceptos sobre el tiempo y a aceptar nuevas definiciones y dimensiones mas amplias, libre de todas las restricciones tradicionales. Mediante la deformación del tiempo en todo aspecto concebible (vuelto al revés, transpuesto del lugar normal, invertido, fragmentado, o torcido en una manera que es ilógica e inexplicable), Carpentier utiliza los medios temporales en su narrativa de varias maneras: el tiempo circular, el tiempo regresivo, el tiempo histórico, el tiempo interiorizado, o el tiempo atemporal, que son los principales aspectos analizados en esta tesis.

The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.

Cette version du mémoire a été tronquée des éléments de composition originale, ces éléments donnant des informations d'ordre structurel qui permettraient d'identifier le stage qui fait l'objet de la présente recherche. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Ce mémoire a pour objectif de dégager les paramètres de l'expérience vécue par un groupe de stagiaires ayant participé à l'édition 2014 du stage Music’Oriente axé sur l'apprentissage des musiques cubaines, à Santiago de Cuba. Notre recherche porte précisément sur les diverses stratégies mises en oeuvre par les participants pour optimiser leur expérience. Sur ce type de terrain, la relation musico-touristique demande d'être appréhendée suivant des paramètres distincts du schéma performanciel classique situant le touriste dans le public et laissant le plus souvent la pratique musicale aux natifs. Selon notre perspective, dans le stage de musique, l'expérience du touriste doit être prise en compte non seulement pour l'appréciation que celui-ci a des prestations qui lui sont données à voir, mais également pour les significations qu'il attribue à sa démarche d'apprentissage musical en contexte de voyage à l'étranger. Mobilisant les outils de l'ethnomusicologie, de la philosophie, de la psychologie sociale et de l'anthropologie du tourisme, et à l'aide des notions d'expérience (Dewey c2005) et de flow (Csikszentmihalyi 1990), ce mémoire met notamment en exergue que le processus d'optimisation nécessite de la part des stagiaires de Music’Oriente une constante négociation de leur rapport au connu et à l'inconnu, dans la perspective de retirer les plus grands bénéfices d'une expérience d'immersion dans un cadre étranger. Par cette recherche, nous souhaitons que notre apport théorique, axé sur l'agentivité des touristes et sur leur démarche de construction de sens, contribuera à une compréhension plus approfondie de la dimension expérientielle de la pratique musicale en contexte touristique. / This thesis aims to identify the parameters of the experience of a group of tourists who participated in the 2014 edition of the Music’Oriente workshop, which focused on learning Cuban music in Santiago de Cuba. Our research is specifically concerned with the various strategies used by the participants to optimize their experience. The music-tourism relationship in this field requires a different perspective than that for a classic performance pattern which places the tourists in the audience and leaves most of the musical practice to natives. When considering the tourists’ experiences in the musical workshop, our perspective reveals that not only is the tourists’ appreciation of the musical performance important but also their attribution of meaning to their own music-learning approach in the context of travel abroad. By putting the tools of ethnomusicology, philosophy, social psychology and anthropology of tourism into action, and by using the concepts of experience (Dewey c2005) and flow (Csikszentmihalyi 1990), this thesis aims to highlight that the process of optimization requires participants to constantly negotiate their relationship to the known and the unknown to achieve the highest number of benefits of immersion in a foreign context. Through this research, we hope that our theoretical contribution, focused on the tourists' agency and process of constructing meaning, will lead to a deeper understanding of the experiential dimension of musical practice in a tourism context.

Este trabalho analisa filmes do cineasta Chris Marker que indagaram sobre a Unidade Popular do Chile nos anos 1970. Entre as produções abordadas, estão duas que foram remontadas a partir de documentários chilenos feitos durante o governo de Salvador Allende: La première année (1973) e On vous parle du Chili: ce que disait Allende (1973). Além disso, mais três filmes desse realizador se dedicaram ao tema: La Spirale (1976), Lambassade (1974) e O fundo do ar é vermelho (1977). Por meio do estudo dessa filmografia, identificaram-se quais foram as estratégias narrativas utilizadas e qual foi o discurso político sobre a chamada experiência chilena que essas estratégias elaboraram. A reflexão sobre o corpus permitiu verificar que o interesse por esse processo, visto desde a França, emergiu do espaço deixado pelas frequentes desilusões diante de uma referência política anterior, igualmente vinda da América Latina e que havia motivado os debates da esquerda francesa na década de 1960: a Revolução Cubana. Assim, optou-se por incluir também na pesquisa produções markerianas que nasceram do contato entre esse realizador e o Instituto Cubano del Arte e Industria Cinematográficos (ICAIC): Cuba si (1961), La bataille des dix millions (1970), On vous parle du Brésil: tortures (1969) e On vous parle du Brésil: Carlos Marighela (1970). A análise dos filmes elencados revela que, durante os anos da UP no poder, houve uma vontade de aproximação entre Chile e França que valorizava os caminhos empregados pela via chilena ao socialismo, apontando-os como possibilidades para uma Nova Esquerda europeia. Porém, com o golpe de Estado de 1973, essa postura passou por uma revisão, e a experiência chilena serviu à elaboração de leituras que apontassem um legado e lições que poderiam ser retirados da queda da Unidade Popular. Nesse sentido, as produções de Marker fazem uma denúncia das ações da direita que derrubaram Allende, bem como constroem uma visão autocrítica que indica os erros cometidos pela própria esquerda que possibilitaram essa derrota. Essa tentativa de atribuir um legado e lições buscava responder sobretudo aos anseios de uma esquerda francesa que dispunha de um programa comum de governo fortemente inspirado naquele da UP chilena, mas que deveria ser submetido a uma revisão após o fracasso de sua referência latinoamericana. Sob essa visão, esta tese propõe um estudo voltado à circulação de ideias culturais e políticas entre América Latina e França, que delega ao continente um papel central nessa relação durante os anos 1960 e 1970 e a Chris Marker a função de um mediador cinematográfico. / This work analyses the Chris Markers films that inquired about the Popular Unity in the 1970s. Among the productions approached, two of them have been reassembled from other Chilean documentaries that had been made during the Salvador Allendes government: La première année (1973) and On vous parle du Chili: ce que disait Allende (1973). Furthermore, three other films by Chris Marker have analysed this subject: La Spirale (1976), The embassy (1974) and The grin without a cat (1977). By studying his filmography, this research could identify the narratives strategies that had been used by the director, as well as the political discourse elaborated by them. The reflections about the corpus allowed verify how the interest for this Chilean process, viewed from France, has emerged from an empty space left by the usual delusion given by an earlier reference that had motivated the French left during the 1960s, also gone from Latin-American: the Cuban Revolution. So, we chose to also include in the research the Markers productions came from the relationship between this director and the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC): Cuba si (1961), La bataille des dix millions (1970), On vous parle du Brésil: tortures (1969) and On vous parle du Brésil: Carlos Marighela (1970). The analysis of the films-selected shows that, during the UPs years in the power, there was a wish to approach Chile and France by valorising the Chileans way to the socialism and pointing it as a possibility to the European New Left. However, after the coup détat in 1973, this attempt has been revised and the Chilean experience has been used to elaborate lectures that pointed a legacy and lessons from the follow of Popular Unity. In this sense, the Markers productions denounce the rights actions to overthrow Allende, as well as built a self-criticism vision to indicate the lefts mistakes that had collaborated to the defeat. This wish to show a legacy and lessons has dialogued with the expectations of a Frenchs left that had have a common government programme tightly inspired in the Chileans UP ones, but that has required a revision after the failure of its Latin-American reference. From this point of view, this thesis proposes a study based on the circulation of cultural and political ideas between Latin American and France that delegated to this continent a central role in this relationship during the 1960s and the 1970s, and assigned to Chris Marker the function of a cinematographic mediator.

A presente investigação tem por objeto de estudo o romance El hombre que amaba a los perros (2009), de autoria do cubano Leonardo Padura. Em uma análise formal de tal obra, a pesquisa debruça-se sobre a posição de seus narradores, sobre a construção de seus personagens e sobre a estruturação de seu enredo, compreendendo seu funcionamento literário enquanto sintoma cultural da sociedade de consumo contemporânea. Assim, discute-se o pastiche da literatura policial noir engendrado pelo autor, bem como suas maneiras não realistas de figurar a história, situando o livro em meio ao panorama estético e ideológico da pós-modernidade. Com isso, busca-se esclarecer a relação dialética que se estabelece entre a forma narrativa do romance e o atual processo de transição histórica vivenciado por Cuba o qual conduz a ilha à integração ao sistema mundial do capitalismo tardio. / The current research aims to study the novel The man who loved the dogs (2009), by Cuban writer Leonardo Padura. In a formal approach to such work, the research focuses on the position of its narrators, on the construction of its characters and on the structure of its plot, understanding its literary functioning as a cultural symptom of contemporary consume society. Thus, the pastiche of noir crime fiction engendered by the author is put into discussion, as well as its non-realistic ways to figure history, in order to place the book amid the aesthetic and ideological panorama of postmodernity. Therefore, it intends to clarify the dialectical relationship established between the narrative form of the novel and the current historical transition process experienced by Cuba - which leads the island to integrate itself to late capitalism world system.

O teatro infantil, no contexto do teatro contemporâneo compartilha com manifestações estéticas da dança, das artes visuais e o cinema, uma crise de identidade e uma indefinição de seu estatuto epistemológico. Somam-se a isso os fenômenos diferenciais dentro deste campo do teatro, cujas formulações desestruturam qualquer unidade ou homogeneidade do conceito teatro infantil que se tente construir. Não há, portanto, um Teatro Infantil, mas sim diferentes conceitos, identidades, práticas ou disciplinas teatrais que dialogam com as diversas infâncias e suas performances culturais e que contribuem para a sua definição. Nesse sentido, esta dissertação pretende refletir sobre a presença das crianças no teatro cubano, colocando em discussão o fenômeno do teatro infantil e o teatro com crianças à luz do teatro contemporâneo, para entender os principais enfoques pedagógicos do teatro com crianças em Cuba. / The children\'s theater, in the context of contemporary theater shares an identity crisis and a blurring of their status epistemological with other expressions of this art; as well as aesthetic manifestations such as dancing , arts visual and cinema. The identity crisis and a blurring of their status epistemological therefore, added to this the differential phenomena inside the field of theater, increase the impossibility of defining the children\'s theater in simple terms. One cannot say a that there is a Children\'s Theatre, but rather different concepts, identities, practices or theatrical disciplines that establish a dialogue with the various kinds of childhood and their cultural performances. Accordingly, this research intends to reflect about the presence of children in the Cuban theater, discussing the children\'s theater phenomenon and the theater with children in the light of contemporary theater, in order to understand the main pedagogical approaches of the theater with children in Cuba.

Made available in DSpace on 2015-03-03T19:26:24Z (GMT). No. of bitstreams: 0 Previous issue date: 25 / Universidade do Vale do Rio dos Sinos / Esta dissertação, tendo como marco temporal o intervalo entre 1959 e 1964, estuda a influência da Revolução Cubana no processo golpista brasileiro empreendido pelos militares em março de 1964. Utiliza-se prioritariamente do material jornalístico produzido pelas principais agências rio-grandenses. O texto está dividido em três capítulos. O primeiro, compreende um breve apanhado da problemática agrária no país, com ênfase nos casos gaúcho (MASTER) e pernambucano (Ligas Camponesas), pela relevância desses movimentos no contexto político da época. O segundo capítulo trata das conseqüências da política da Guerra Fria para a América Latina, priorizando o tratamento dos Estados Unidos para com os países dessa parte do continente americano, em especial após a eclosão da Revolução Cubana. Ressalta-se a alteração do discurso anticomunista que passa ser revestido de outra roupagem, a do anti-cubanismo. O último capítulo demonstra a utilização do discurso anti-Cuba como fator essencial da campanha alarmista efetivada em / This text, having as secular landmark the interval between 1959 and 1964, studies the influence of the Cuban Revolution in the Brazilian coup-minded process undertaken by the military in March of 1964. It is used in priority of the journalistic material produced by the main agencies rio-grandenses. The text is divided in three chapters. The first one, understands a problematic catched briefing of the agrarian one in the country, with emphasis in the cases gaucho (MASTER) and pernambucano (Leagues), for the relevance of these movements in the context politician of the time. As the chapter deals with the consequences of the politics of the Cold War for Latin America, prioritizing the treatment of the United States stops after with the countries of this part of the American continent, in special the union of the Cuban Revolution. It is standed out alteration of the anti-communist speech that passes to be coated with another kind of clothes of the anti-cubanism. The last chapter demonstrates the use of the anti-C