Sublllitted to the Faculty of Education in fulfilment of the requirements for the DEGREE Of DOCTOR Of EDUCATION in the Department of Educational Psychology and Special Education at theUniversity of Zululand, 2003. / This study examines teachers' perceptions of the elements of whole school development and the extent to which certain essential features of such development are associated with school effectiveness. The study aims at determining the extent to which school effectiveness is associated with the following four elements (or sets of elements) in terms of respondent dimensions: (1) access to technical and human resources; (2)adoption of a clear culture, vision and identity; (3) involvement in efficient strategic planning, structural arrangements and procedures; and (collectively) (4) gender, age, teaching qualifications and teaching experience. To this end an instrument was constructed based on the Government bluebook for inspection of schools. The bluebook-based instrument was found to be descriptive and, therefore, intended to collect data of a qualitative nature. On the grounds of this serious omission the instrument had to be adapted so as to yield quantitative data covering all the essential features of school organisation. Care was taken to ensure that the instrument has content validity that covers all the essential features of school organisation. The findings revealed that there is a very strong association between the essential features of whole school development and school effectiveness. The analysis of responses in respect of these essential features has enabled us to arrange them in a rank order. The factor that covers adoption of a clear culture, vision and identity was rated in the first position. This was followed by a factor dealing with access to technical and human resources. The last position was occupied by the factor dealing with involvement in efficient strategic planning, structural arrangements and procedures. The study revealed that while age, gender and teaching experience, as aspects of teacher characteristics, did not influence teachers' opinions on the essential features of school organisation, the variable of teaching qualification was found to be influential in this regard.

A dissertation submitted to the University of the Witwatersrand, Johannesburg, in fulfilment of the degree Master of Arts in History by dissertation, 2018 / Why has South Africa failed to institute a teacher evaluation system that produces meaningful results? I aim to contribute to an understanding of why and how various South African post-1994 teacher evaluation policies have failed to become institutionalised and have failed to ensure either robust teacher accountability or professional development. In this dissertation, I examine the history of teacher evaluation in South Africa, in order to understand the evolution of these policies and systems over time. After discussing the legacy of apartheid-era evaluation, I assess three post-1994 policy phases: the 1998 Developmental Appraisal System (DAS), the 2001 Whole School Evaluation (WSE) policies and the 2003 Integrated Quality Management System (IQMS). This historical approach allows me to analyse the successes and failures of these policies in depth and context. Each of these policies has been shaped by, has tried to respond to, and has ultimately failed to confront the challenges of the past. They must also be understood to be a part of a continuous policymaking process, each one building upon and responding to the last. This dissertation contributes to an understanding of why these evaluation policies, despite massive investments of time, energy and resources, and complex and tough negotiations, have repeatedly failed. I argue that a flawed policy process consistently reiterates the same tensions and false assumptions in each new policy, and does not address these fundamental weaknesses. These appraisal policies reflect negotiations and contestations between teacher unions and the state, while the policies themselves and their outcomes further complicate those union-state relationships. The tensions and contradictions within these policies are the product of a policymaking process that tries to cater to mutually exclusive interests. The history of these institutions – teacher unions, the state, collective bargaining bodies – and the relationships between them must be understood in order to grapple with the policymaking environment fully. Further, even as these policies have been renegotiated and redeveloped, they have all failed to engage with the actual realities of teachers and classrooms in the majority of schools in South Africa. The legacy of apartheid education is still manifest in the abilities, attitudes and politics of teachers, and policymakers on all sides of the process have consistently failed to confront that history and propose real strategies for change. / XL2019

M. Tech. Drama / The purpose of this study was to develop a broader understanding of aspects of identity relating to Coloured and Indian people in South Africa and the portrayal of these aspects on the post-Apartheid stage. The meaning of the term 'identity' and its relation to drama and theatre was investigated. Identity markers (individual and social) were identified to serve as a framework for the play analyses. Research was also conducted on both Coloured and Indian identities, seen against a historical background, as well as the theatrical and dramatic history of the two groups.

This research considers the nature of social integration between individuals living in desegregated neighbourhoods in post-apartheid Cape Town. Social integration is understood as a dynamic process between individuals from apartheid's different racial classifications as opposed to the common emphasis in the literature on the static outcome of a neighbourhood being integrated. The research was based on both quantitative and qualitative methods. A quantitative analysis of South Africa's 2001 census results was conducted. From this analysis neighbourhoods in Cape Town with "multiple population dominance', where no single group comprises more than 50% of the suburb population and at least one other group comprises over 25%, were identified. Qualitative fieldwork (semi-structured interviews and mental maps) was conducted in two of these 'multiple population dominance' suburbs. Based on research in these neighbourhoods I conclude that labelling a suburb as physically desegregated implies a level of social cohesion that was not found, and masks the reality of division based on length of tenure and socio-economic status. Within the specific South African context of racial inequality, such opposition to desegregation that is not matched by a shared class is likely to restrict the potential for social integration to develop beyond the confines of black middle-classes moving into 'White' areas, and poor Coloureds and Black Africans living in low-cost housing, thus affecting only a handful of the population.

Thesis (DLitt (English))-University of Pretoria, 2008. / E-thesis record : Krueger, Anton Robert . Includes bibliographical references.

This thesis discusses the significance of popular illegalities in contemporary South African service delivery. Illegal access to and non-payment of services have been indentified by the government as a major criminal problem which undermines effective service delivery. By contrast, this thesis argues that popular illegalities are positive phenomenon which provides otherwise unobtainable benefits for the poor and also exposes the ability of communities to self-manage their own service provision. The thesis begins by surveying a variety of literature on this issue using both contemporary and historical literature. I then discuss the scope of popular illegalities in South Africa and the methods government has used to curtail them, with a particular emphasis on how this has been influenced by the adoption of neo-liberal cost recovery initiatives. Using case studies of three communities where illegal access is prevalent, I discuss both the motivations behind and significance of illegal water and electricity connections. In conclusion, I argue that popular illegalities are a significant phenomenon in so far as they suggest new methods of delivering services. The prevalence of these illegalities is also important as it highlights many of the failings of official delivery. The thesis concludes on a hopeful note in arguing that illegalities may be inherently progressive in both benefiting the marginal and leading to the creation of radically autonomous spaces which can be viewed as laboratories of radical social change.

This research study investigates Lotus FM, as one of many South African Media components that are catering for one specific cultural or religious group. The investigation explores the implications of practice of a pecific media component that caters for specific cultural or religious groups operating in a post-apartheid South Africa. After the end of the apartheid era in South Africa, a number of South African media components have proclaimed their commitment to reconciliation and nation building within South Africa by attempting to unite audiences. The South African Broadcasting Corporation, which held the monopoly on South African Broadcasting for decades, has promulgated the notion of the rainbow nation to audiences in South Africa. Since 1994, sub-components of the different South African media segments were developed to cater for specific ethnic or cultural groups by the station managements. This was aimed at reversing the effects of pre-1994 media that catered for the former ruling minority only or ethnic groups that were categorized by the former political dispensation. It is possible, however, that this has resulted in a renewed and continued separation of interest groups present in South Africa today.

The Maintenance and Revival of isiXhosa print media in South Africa has been left to conglomerate media companies that do not have editorial policies that address their development. These companies are preserving isiXhosa the language they invest in isiXhosa print media to make money of the language. The development of the language is not catered for they are in the business of copies of magazines and newspapers. However, they should not be faulted for this area of indigenous language print media has long been neglected by black business men. From the history of African language print media it shows that this media is sustainably profitable if one is to look at purely the side of media. Ilanga lase Natal is testament to that it is now 116 years the paper has been in print it change ownership several times but that did not prompt the paper to cease existing. This is what unfortunately has happened to isiXhosa newspapers that were famous and influential in the late 19th and early 20th centuries. It seems that once they got into the exchange of ownership conflict would ensue this is probably because they were very influential politically and everybody was interested in controlling its audience. Now isiXhosa finds itself to be at the mercy of media companies that are English and Afrikaans language oriented and inclined whose policies only recognize the two languages. In this situation isiXhosa finds itself to be and becomes an artificial minority language in these institutions. This is not to say that if maybe a BEE consortium was to invest in the isiXhosa language print media they were not going to be profit and sales oriented. However, they would be inclined in paying attention to the development of language rather language preservation. The reference to BEE business men in the paper should be understood in relation to the state abandonment and spectacular stagnation of isiXhosa print media and therefor the language of isiXhosa. / NG (2020)

Submitted in fulfilment of the requirements of the degree Master of Arts (Media Studies) Department of Media Studies School of Literature, Language and Media Faculty of Humanities University of the Witwatersrand / This research project studies the consumption of ‘self-help’ media texts with respect to black South African audiences. The core objective of this project is to contribute to expanding debates on race, class, identity, and media consumption. Based on in-depth interviews with 10 avid self-help consumers, the paper develops an argument for the role of self-management in race and other social identities. The deployment of the qualitative methodology of a thematic discourse analysis of over seven hours of interview transcripts assists this paper in providing an account of where, when and how self-help media manifests in the lives of the chosen participants. The paper finds that participants are motivated to consume self-help media texts by a need to ‘know’ and ‘understand’ themselves and others in order for these participants to acquire what they express to be an atmosphere of inter-relational harmony. A growth of media texts forming part of a genre related to the practice of therapy in South Africa is owed to what I argue as a deep-rooted culture of ‘reconciliation’ and a preoccupation with emotions which stems from a particularly murky socio-political past still in a constant state of reparation (prevalent in discourses about reconciliation and forgiveness) in the democratic dispensation. As a key inspiration, the once-off yet pertinent process of the Truth and Reconciliation Commission (TRC) of South Africa has noticeably inspired a genre which supplies its audience with an array of self-help, therapy-inspired media texts thriving on the practice of public confession and testimony (key principles of the TRC). This has paved the way for a culture of ‘treatment’ and ‘remedy’ becoming what this paper refers to as a ‘public affair’. Active participants on these self-help, often therapeutic, media texts on mass media platforms regularly do so at the expense of exposing deeply personal issues to ‘experts’ entrusted to assist with ‘healing’ what are deemed to be problem areas in people’s lives. Referred to by some of the interviewees as ‘brave hearts’, these participants (‘public confessors’) hold a complex position in the minds of the interviewed individuals who, ironically, express admiration and respect to the individuals who publicly testify and confess as they are a valued reference of ‘learning’ but at the same time, an expression of disappointment and shame is bestowed upon these ‘public confessors’ for allowing their argued exploitation by the media. Amidst all this, it is apparent that consumption of self-help media texts have particularly intricate influences on the patterns of self-identity as constructed by the participants of this research project. / GR2017

Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009. / This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter. iv In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art. / M