Coffee Bay, a small beach resort located in the heart of the former Transkei, is one of the current tourist ""hot spots"" on South Africa's Wild Coast. Through a detailed analysis of tourist literature spanning several decades, together with consideration of established theories regarding the 'making of place', this study examines the relationship between visual representations of Coffee Bay and the changing patterns of tourism in the seaside resort from 1945 to the present. This study traces the Coffee Bay's development over three separate periods - 1945 to 1969, 1970 to 1989, and 1990 to 2005 - during which time three different groups of tourists inhabited its space: cottage owners, hotel guests and backpackers. Despite their differences, each group sought the same thing an archetypal, mythical vision of a tourist ""paradise"". They thus inhabited and confected Coffee Bay's touristscape with their interpretations of this Utopia.

The inscription of a strange-looking industrial site- coalmine on Hashima- on the World Heritage Site has proved to be the most publicly contested debate of heritage making work between Japan and Korea The debate about this place brings up poignant questions with regard to not only the significance of this heritage, but also the subsequent use of this island. The failure of reconciliation between countries especially, but also of reparation, restitution since the end of the Second World War and the issues of identity and memory have been brought to the fore. This paper seeks to challenge the dominant modes of heritage making and, in so doing, offer an analysis of influences from political, social and economic factors or an improved understanding of the dynamics of capitalistic production expansion. The origin and transformation of tradition is invoked in attempts to explain the pervasiveness and power of historical temporality and continuity. A critical approach to canonisation is employed whereby the choice of heritage resources is done in a more limited and cogent manner. It is argued that currently heritage-making functions as both value distribution and intentional perception for a people in a nation. Above all, the social life of those living in industrial ruins is positioned in the new perspective that as heritage resources they cannot be separated from capitalistic production and world history. Following from this, it is said that the temporality and spatiality of ruins need a political, social and economic debate in which the myths of the nation are forged, transmitted, negotiated and reconstructed constantly. Through employing these ideas, one can relate the thematic approach of heritage selection to commodification, collective memory, capitalism and nationalism in a theoretical and analytical way.

Includes bibliographical references. . / The history of black radio in South Africa demonstrates the legacy of colonialism, but also exhibits the performance of novel identities in the 'modem' state. In this dissertation I look at the early years of black radio in South Africa circa 1940-1944, focussing primarily on the Zulu language service. The service was originally broadcasted on the Afrikaans and English radio stations in South Africa. It was 3 minutes in length at its inception in 1940 and was gradually extended to 30 minutes by September of 1942. Based on the collection of archival material and newspaper clippings I look at three colonial figures that were active in the early years of native radio, namely: Hugh Tracey, who was the initiator of broadcasts in Zulu, K. E. Masinga, who presented the first shows in the Zulu service, and The Zulu Radio Choir, who were mentioned as part of the first groups to be recorded for the Zulu radio service (Tracey 1948). All three of these stakeholders have played a foundational role in the establishment of the radio archive in South Africa. Using discourse analysis and Judith Butler's performativity theory (1988; 1990; 1999), I trace the discursive interactions of these stakeholders-an area where 'African tradition' meets 'colonial modernity' (Mudirnbe 1988). I then proceed to show how their performative acts reveal multi-layered processes of redefinition and negotiation. A recurring thread in the entire dissertation is a quest to represent Africa and its people's in new ways that challenge colonial legacies.

This mini-dissertation is a study of the phenomenon of life-casting and the display of these in the museum space. It looks specifically at the practice as it came into use at the turn of the twentieth century at the South African Museum in the Western Cape. The research aims to place the practice in context with the historical triggers and larger perspectives of the subject of indigenous races. A focus on particular life-casts and its display in designed productions allows the reader insight into knowledge production. I point to this to unpack a loaded history informing deeply seated identity constructs and prejudices. A trajectory of the use of the life-casts is supported by visual records included in this text. The museum's archive also affords a plethora of correspondence and research giving context and insight. A close analysis of the archive exposes the museum's processes and the exchange in consumption and production by museum visitors and related institutions both private and state supported. The making and unmaking of the life-casts acts as proxy for peoples brutally subjugated.

Includes bibliographical references. / This dissertation is an interdisciplinary study of the Rex Trueform garment manufacturing factory in Salt River, Cape Town. It follows the narrative of the site from the date of completion of the first factory in 1938 up until conversion of the site into an office park in 2013. Architecturally, the buildings are key works by pioneer modernist architects, Policansky, Andrews and Niegeman . The analysis of the form and the space of the buildings is interlocked with an analysis of the conditions with in which these distinct buildings were conceived and built. As 20th century industrial buildings in Cape Town, they are representative of a particular kind of modernity, one that is entangled with constructions of race, class and gender. The dissertation looks at how particular notions of race, class and gender were constructed, materialised and inscribed in the architectural form and space. The buildings are a primary archival source, but conversational interviews with ex-workers begin to give a glimpse of what it was like to work for Rex Trueform, considered as a significant company in the clothing manufacturing industry. Visual material, drawings and film footage, tracks the architectural development of the site, linking it with key moments in the political life of South Africa. This raises questions around the relations hip between the apartheid state - endorsed white capital and disenfranchised black labour. Race and identity is a key theme, questioning the role that industry, sociology and apartheid played in the constructions and stabilising thereof with the Cape factory as a primary site. The buildings, situated both in the historical time as well as in the contemporary postapartheid framework, offer multiple readings of how space and architecture contributed towards ascribing identities onto people and how these ascribed identities were and are being contested and disrupted. The dissertation thus raises questions of how the modern city of Cape Town was produced by looking at some of the socio-political conditions under which Rex Trueform, a major industrial site, was developed.

Digitisation is occurring all over the world today. So to bring it to South Africa is one step in changing people’s understandings of Africa, because the information would be accessible to the world and the rest of South Africa. There are many challenges that have been debated around digitisation in Africa such as technological challenges, international relations or external institutions, the creation of a new kind of archive and the various digitising projects that have occurred in Africa specifically for creating online libraries. This study’s focal point is on two collections that are housed at the University of the Western Cape Archive; The Sarah Baartman and Khoi San Collections. The documents with regards to Sarah Baartman are the books of her story and how she became famous, but there is more to the books that we see in the shops or hear of. The collection of documents hold valuable information about her return to her homeland and the research of her descent. The Sarah Baartman Collection consists of the documentation that helped with the return of her remains. The University of the Western Cape Khoi San Collection consists of documentation of the Khoi San Conference that was held in 1994, with regards to the notion of becoming an identity and to view the Khoi San as people and not as just objects of study. The documents are basically faxes and letters that were sent to a Professor Bredekamp at the University of the Western Cape who was a participant in the conference. The University of the Western Cape Khoi San Collection is different from the Bleek and Lloyd Collections in that it is not someone’s journal or research but peoples voices of protecting the Khoi San Heritage. The two collections were chosen due to the fact that there was a gap in how to digitise collections that belonged to indigenous people/ descendent communities within South Africa and how to access these collections. The key purpose of the study is to determine the implications that digitisation has on Public Access. The aims of the study were to investigate the factors that determined decisions about how to digitise an Archive and how does Access impact digitisation. The data for this study was collected by the help of Archivists. The subjects of this study were archivists with the respected expert knowledge in digitisation. A semi-structured questionnaire was emailed to six Archivists. Semi-structured interviews were conducted with the same six Archivists; the interviews were recorded on audiotape or hand written. On the basis of the results of this research it can be concluded that archives need to develop policies that incorporate consultations and take into consideration the descendent communities before the digitisation process occurs. There need to be cultural sensitivity towards collections of indigenous people which rarely occurs during digitisation. The recommendations that flowed from this study are: there needs to be further research in the curation of digital archives, needs to be more communication between archives and communities and digitisation policies need to be standardized.

This thesis is concerned with the ways in which museums have been used as vehicles to convey notions of the nation. It looks specifically at the Iziko Museums of South Africa's social history sites that deal with the subject of slavery. It is concerned with the absence of a narrative of slavery at Iziko museums before the demise of Apartheid and looks the historical and socio-political changes that lead to its emergence in South African historical consciousness. It is a study of the history of museums as well as the ways in which history has been used in museums. It looks at the ways Iziko, as a national museum, has guarded and promoted ideas of the nation as decided by the state. The thesis examines with the ways in which the museum has transformed since its inception in the colonial period up to the present day. The time period investigated is 1855 to 2016. Guiding questions for the thesis are: for what purpose were museums created in South Africa; what are the implications of colonial practice on the ways in which they functioned; why has the history of slavery has been disavowed in South African historical consciousness; what led to the rise of the study of slavery in South Africa; what has the emergence of the new museology meant for museum practice; how have heritage studies transformed the South African historical landscape. The thesis begins with a theoretical literature overview of museums more generally and its links with power and representation and the colonial regime. It then moves on to investigate the origin and history of Iziko museums by working through published literature on the subject, unpublished materials, other institutional materials found in the Iziko archive and interviews conducted with past and current employees. It then looks takes an historical survey of South African historiography and its exclusion of the history of slavery and later the emergence of such a narrative. Lastly it looks at how the nation has been narrated by the state after Apartheid and how the museum responded to the new dispensation. The thesis concludes that Iziko museums have transformed over the last two centuries in terms of the subject matter it studies. Museological activity has been diversified to include a range of subjects hitherto ignored in South African public consciousness due to the legacy of both colonialism and Apartheid. Most importantly it shows that the museum has continually responded to concepts of the South African nation and that national museums are inextricably tied to the nation-state.

This study seeks to examine and trace the notion of state prioritisation of heritage in relation to state intervention through political, policy and governance regimes in heritage management in South Africa. The study covers key highlights in the evolution of heritage management and developments through specific epochs and contexts such as the colonial, apartheid and post-colonial South Africa. Drawing on theories such as 'governmentality' and 'authorised heritage discourse' the study provides a perspective on the extent of state influence and dominance in the formalisation of heritage management through policy, legal instruments and governance processes. Using the National Liberation Heritage Route project in South Africa as a case study, the research illustrates the notion of state prioritisation of heritage in relation to the deployment and mobilisation of state resources (policy, legal instruments and material resources) in heritage management to support a select past as 'official' heritage of the nation state. The politics of transforming the heritage landscape in post-1994 South Africa witnessed the emergence of the idea of state prioritisation of the liberation heritage as a site for restorative justice particularly to honour and recognize the legacy of the political struggles for freedom against colonialism and apartheid. Conversely, the framing of the liberation heritage also demonstrates political uses of heritage at expedient moments to achieve political goals by the regime in power and state control. While normative approaches to heritage management tend to emphasise the disjuncture between colonial and post-colonial periods, the results of this study confirm strong ties to colonial and European influences across these categories. The findings outline the complexity of state intervention and its inherent biases that inform the governance of heritage. In this light the study contributes to ongoing research on the discourse of evaluating the global, local, and transnational dimensions of heritage management and practices, in relation to the problematics of heritage as mainly a product of state authority and political power.

Whether as a distinct cultural form, or as a problem exaggerated and imagined by a paranoid interpretive bent, “rumor” (al-ishāʿa) claims a place in the writings of many Egyptian intellectuals, littérateurs, journalists, and politicians in the twentieth century that has yet to be adequately addressed and theorized. At the intersection of cultural studies and Arabic literature, this dissertation investigates rumor as a fiercely contested mode of reading and writing public culture in Egypt since 1952. Eschewing the legislative trend in the modern social and clinical sciences that has positioned rumor as an object to be combatted, or reduced it to the mechanisms and motives of mass psychology, I examine some of the many ways in which it generates, animates, or interferes with scenes in the lives of social actors as they move between the centers and peripheries of power. Rumor possesses both affirmative and destructive powers, often inseparably, and in order to theorize its complex imbrications with character, community, and culture beyond the urge to evaluative critique, I develop a host of concepts – such as noise, play, paranoia, and parody – capable of bringing this oft-neglected ambivalence into view. Notoriously resistant to analysis, whether due to is conceptual vagueness or ephemeral phenomenological status, rumor and the scenes it makes require a rethinking of the modes of scholarly writing that dominate the humanities and social sciences. A degree of mobility and eclecticism, drawn from the object itself in its flight across history and culture, imbues the organization and style of this dissertation: rumor is the object, and inspires the mode, of my investigation. Each of the three Parts of the dissertation investigates a different field of public culture in post-1952 Egypt. Part 1 analyzes the rhetoric and interpretive practices deployed by state actors in their confrontation with what they call “rumors.” Three historical events are taken as significant: the rhetorical and dramatic performances of the Free Officers in the early revolutionary period (1952-1954), the social scientific celebration of “planning” (takhṭīṭ) in 1964, and the Mubarak death rumors of 2007. While here rumor comes into view as the object of state discipline and paranoid interpretation, the remaining two Parts investigate its role in the performances of artists, littérateurs, and bloggers. Part 2 analyzes the literary texts of Gamal al-Ghitani, which are unique in their simultaneous recording and performing of rumors in Egyptian cultural politics at the turn of the millennium. Finally, Part 3 examines intersections between play, parody, and the paranoid style of interpretation in cyberspace, including an investigation into the blogging campaign “Mubarak Mat” (“Mubarak has Died,” 2008) and Ashraf Hamdi’s response to rumors spun by the counterrevolution (2011-2012). While rumor, across these many contexts, is deplored as a destructive force, it also, I contend, salvages possibility from necessity, explores alternatives to the status quo, and serves as an unexpected catalyst for innovative cultural and political forms. As noise, it creates disorder and generates a new order. It is at once in public culture, and making public culture. / text

<p>After the First World War, Germany lost its overseas territories, becoming Europe's first post-colonial nation. After 1919, and especially between 1933 and 1945, however, German colonialists advocated for the return of these colonies and for their central importance to Germany. This dissertation tells the paradoxical story of these colonialists' construction of a German national character driven by overseas imperialism despite the absence of a colonial reality to support this identity. In contrast to views of colonialism as marginal in Germany after the First World War or the colonialist organizations as completely subsumed under the Nazi regime, this dissertation uncovers both the colonialist organizations' continuing public presence and their assertive promotion of their overseas goals in the Third Reich. It also reveals the space available for debates over the contours of national identity in the public sphere of the Third Reich.</p><p>Using organizational records of colonialist groups and Nazi propaganda offices, the colonialist press and other publications, photography, graphics, films, and public opinion reports, this dissertation examines the vibrant two-million-strong colonial revisionist movement that flourished in the Third Reich. German colonialists, straddling between anachronistic fantasy and the National Socialist world-view, reintegrated overseas imperialism into Nazi Germany and thereby reinterpreted the meaning of Germanness. They proclaimed a new vision of German national identity that drew on the imagined glories of the past but also held out the promise of a revitalized future for Germany through Africa. They did so however in conflict with the Nazi regime's expansionist goals in Eastern Europe. Colonialists, however, elided disagreements in favor of projecting a public image that emphasized the deep interconnectedness of overseas colonialism and Nazi goals. Through their public agitation and cultural products, colonialists affirmed the continuing relevance of overseas colonialism to Germans in the Third Reich.</p> / Dissertation