Submitted to the Faculty of Arts in partial fulfilment or fulfilment of the requirements for the Doctor of Philosophy in the History Department at the University of Zululand, 1999. / J.L. Dube is one of the Zulu Natalians who, being an African nationalist, involved himself in the affairs of his kith and kin. He is the founder of the first African established school in Natal, viz. Ohlange. He also succeeded to establish and publish ILANGA LASE NATAL as a medium of contact among the Africans who were economically, politically and socially acute. Dube set himself the task of revealing the failures of Shepstonism. He pointed out how it could have been utilised to promote acceptable administration of Africans. He even pinpointed the type of reforms that the Africans yearned for. When this was not heeded, he involved himself unflinchingly in politics. He organised fellow-Christian Africans with success. Dube was, however, an exponent of non-violent political change. He wished that in its dealings with the Africans, the government would be fair, objective and humane. Dube remonstrated against the subjugation of the Africans by the colonial government. He preferred that the Africans should be consulted, and elevated in the scale of civilization. For this to happen, he pressed that the attitudes of the whites towards blacks would have to change. The unwieldy officialdom, obscenely abusive party politics, and unequal treatment of whites and blacks at law would also have to be remedied or replaced. He advocated that land should be equitably distributed and Africans introduced to a new mode of land ownership. The whites would have to reduce then-excessive demands for land and African labour. He also demanded a worth¬while education system for the blacks that would promote all their human aspects. The government was urged to adequately financially provide for and control African education. It should not leave this to the lot of missionary societies. Dube also pressed for the enfranchisement and representation of Africans in the Natal legislature. It was only then that the government would quickly apprehend, comprehend, and redress problems that related to Africans. Subsequent to the 1906 rebellion, Dube was hopeful that there would be an end to maladministration of African affairs. He was highly expectant that the recommendations of NNAC, the drive of the new governor, the new direction of policy, though late, would put the colony on a new course. However, then the movement towards Union was afoot. It remained to be seen what would transpire. / Human Sciences University of Zululand Research Fund Commeetee, Research Council (HSRC), Anglo American and De Beers Cahairman's Fund

La presente investigación surge del interés por construir una aproximación más consciente al lugar de la creación y dirección en danza, a partir de cuestionar cómo nos relacionamos con otros artistas detrás de escena. El objetivo principal es generar una reflexión en torno a la construcción del vínculo director-intérprete dentro de los procesos creativos, utilizando como objeto de estudio, la pieza de danza La Superficie de la creadora peruana, Cristina Velarde. A través de entrevistas realizadas a la coreógrafa y los intérpretes en danza, se ha buscado conocer bajo qué dinámicas se establecen las relaciones dentro del proceso creativo, cómo influyen en la estructura vincular las particularidades de los sujetos involucrados y el contexto en el que interactúan. Es así como, a partir de la observación y análisis de la experiencia dentro de este proceso creativo en particular, se ha podido identificar cuáles han sido los componentes que han hecho posible el desarrollo del vínculo creativo y, de esta manera, concluir que, existen dos ejes fundamentales para la construcción de cualquier tipo de vínculo que son la comunicación y la confianza; sin embargo, debido al contexto creativo, aparecen y se adicionan otros componentes, entre los cuales, los más importantes son: el compromiso con el proceso y sus participantes, las capacidades de adhesión y afectación, la experiencia emocional del intérprete y, la empatía entre los participantes.

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