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Thesis (PhD)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This study is a socio-cultural history of the sport of surfing from 1959 to the 2000s in South Africa. It critically engages with the “South African Surfing History Archive”, collected in the course of research, by focusing on two inter-related themes in contributing to a critical sports historiography in southern Africa. The first is how surfing in South Africa has come to be considered a white, male sport. The second is whether surfing is political. In addressing these topics the study considers the double whiteness of the Californian influences that shaped local surfing culture at “whites only” beaches during apartheid. The racialised nature of the sport can be found in the emergence of an amateur national surfing association in the mid-1960s and consolidated during the professionalisation of the sport in the mid-1970s. Within these trends, the making and maintenance of an exemplar white surfing masculinity within competitive surfing was linked to national identity. There are three counter narratives to this white, male surfing history that have been hidden by that same past. Firstly, the history women’s surfing in South Africa provides examples of girl localisms evident within the masculine domination of the surf. Herein submerged women surfer voices can be heard in the cultural texts and the construction of surfing femininities can be seen within competitive surfing. Secondly, surfing’s whiteness was not outside of the political. The effects of the international sports boycott against apartheid for South African surfing were two-fold: international pressure on surfing as a racialised sport led to sanctions in the late 1970s against the amateur national surfing teams competing internationally or maintaining international sporting contacts; and, as of 1985, the boycott by professional surfers of events on the South African leg of the world surfing tour further deepened South African surfing’s sports isolation. By the end of the 1980s, white organised surfing was in crisis and the status of South African as a surfing nation in question. Lastly, the third counter-narrative is the silenced histories of black surfing under apartheid. Alongside individual black surfer histories, the non-racial surfing movement in the mid-to-late 1980s is considered as a political and cultural protest against white organised surfing. The rationale for non-racial sport was challenged in 1990 as South Africa began its political transition to democracy. Nevertheless, the South African Surfing Union, the national non-racial surfing body, played a pivotal role in surfing’s unification in 1991 which led to South African amateur surfing’s return to international competition in 1992. However, it was an uneasy unity within organised surfing that set the scene for surfing development as a strategy for sports transformation in the post-apartheid years. The emergence of black surfing localisms after 1994 is located within that history, with attention given to the promotion of young, male Zulu surfers within competitive surfing, which point to emergent trends in the Africanisation of surfing in the 2000s. It is concluded is that while cultural change in South African surfing is evident in the post-apartheid present, that change is complicated by surfing’s gendered and apartheid sporting pasts. / AFRIKAANSE OPSOMMING: Hierdie is ‘n sosio-kulturele studie oor die geskiedenis van die sport van branderplankry in Suid-Afrika vanaf omstreeks 1959 tot 2000. Dit behels onder meer ‘n kritiese bespreking van die “Suid-Afrikaanse Branderplank Argief” wat in die loop van navorsing opgebou is. Daar word veral op twee temas in kritiese sport historiografie in suidelike Afrika gefokus. Die eerste is die wyse hoe branderplankry in Suid-Afrika as ‘n wit manlike sport ontwikkel het. Die tweede is of branderplankry as polities beskou kan word. Hierdie onderwerpe word onder die loep geneem deur te let op die dubbele witheid van Kaliforniese invloede wat die plaaslike kultuur op “slegs blanke” strande onder apartheid help vorm het. Die rasgebonde aard van die sport kan gevind word in die totstandkoming van die amateur nasionale branderplank vereniging in in die middel 1960s en is gekonsolideer met die professionalisering van die sport in die middel 1970s. Vervat in hierdie verwikkelinge is die vorming en instandhouding van ‘n besondere tipe manlikheid wat as ‘n ideaal tipe voorgehou is en deurmiddel van mededingende branderplank kompetisies aan ‘n nasionale identitieit gekoppel is. Daar is drie kontra narratiewe tot hierdie wit manlike geskiedenis wat deur dieselfde verlede verberg is. Eerstens is daar die geskiedenis van vroue branderplankry wat blyke gee van plaaslike vroue se betrokkenheid in dié oorheersende manlike domein. Gedempte vrouestemme klink op in kulturele tekste en die konstruksie van vroulike identiteite binne mededingende kompetisies.Tweedens was branderplankry se witheid nie onverwant aan die politieke dimensie nie. Die uitwerking van die internasionale sportsboikot teen apartheid was tweeledig: internasionale druk op branderplankry as ‘n rasgebonde sport het in die laat 1970s tot sanksies teen amateur spanne gelei wat oorsee meegeding het of internasionale kontakte gehad het, en sedert 1985 het die boikot van professionele branderplankryers van kompetisies in Suid-Afrika die land se isolasie verdiep. Teen die einde van die 1980s was wit georganiseerd branderplankry in ‘n krisis en die status van van Suid-Afrika as ‘n branderplankry nasie in die gedrang. Laastens is die derde kontra narratief die vergete geskiedenisse van swart branderplankryers onder apartheid. Samehangend met swart geskiedenisse word die nie-rassige branderplankry beweging in die middel 1980s as ‘n kulturele en politieke protes beskou. Die rasionaal vir nie-rassige sport is in 1990 uitgedaag tydens die oorgang na volledige demokrasie in Suid-Afrika. Desnieteenstaande het die Suid-Afrikaans Branderplankry Vereniging ‘n bepalende rol gespeel in organisatoriese eenwording in die sport en die hertoelating tot internasionale kompetisies in 1992. Dit was egter ‘n ongemaklike eenheid waarop transformasie gedurende die postapartheid fase gebou moes word. Die groter teenwoordigheid van plaaslike swart branderplankryers moet in dié konteks gesien word, veral ten opsigte van jong Zoeloe ryers wat alhoemee navore tree en op die Afrikanisering van die sport sedert ongeveer 2000 dui. Daar word ten slotte op gewys dat hoewel kulturele verandering in die huidige bedeling merkbaar is, die sport se geslagtelike en rasgebonde verlede nog steeds sake kompliseer.

Film has always been an integral part of the culture of surfing. In the early 1960's, a film by the name of The Endless Summer ushered in the wide acceptance of the medium of film by the culture. As the years progressed and the sport radically adopted new styles, attitudes and lifestyles, surfing films changed along with it. This thesis will show how the aesthetics of surfing films both are shaped by the culture from which they are found and how, in turn, they continually reshape the culture. By looking at the aesthetic theories of Hans-Georg Gadamer, Leo Tolstoy and Walter Benjamin, this thesis will academically survey the aesthetics of the films The Endless Summer, Momentum, and the works of filmmaker Jack Johnson and his studio The Moonshine Conspiracy. This study will provide insight into the significant aspect of , film in a culture so strongly defined by aesthetics, both from within and without.

<p>From the start the goal with this project has been to make a sounding interpretation of the act of wavesurfing from the perspective of a surfer and an exploration of the possibility to create soundprints that with music captures and recreates physical movements, experiences and moments of flow.</p><p>To do this I have collected physical data from a surfer surfing the waves at Torö Stenstrand (the most "famous" surfbreak in the Stockholm region) that I later connected to chosen musical parameters such as rhythm, pitch, tempo and texture. Because the goal was to capture the experience of surfing waves I also recorded sounds of the waves and the surroundings and mixed it together with the written out music. </p>

Inactivity and its negative implications on health, well-being and quality of life are a global issue with around 40% of adults in the UK not meeting physical activity guidelines currently set out by the government. Modern sedentary lifestyle behaviours, such as excessive Internet and video game participation, are contributing factors to this issue. With the rise of households having accessibility to high speed connectivity and devices with the ability to access the Internet and play video games these behaviours are likely to increase. Motivation, Addiction and Sensation Seeking were measured in gamers and surfers using a self-report questionnaire survey. It was thought that both gamers and surfers would share facets of these psychological aspects although participation in their chosen activities usually require different energy expenditures and take place in contrasting environments. Gamers and surfers do share similarities in eight out of the ten aspects of Motivation, Addiction and Sensation Seeking that were measured and showed significantly higher results in measures of Sensation Seeking and Intrinsic Motivation when compared to wider population norms. These findings suggest that both gamers and surfers, in this study, have similar psychological make ups and both groups could be described as intrinsically motivated sensation seekers who have similar levels of risk of addiction to their chosen activities. Therefore the activity of surfing could potentially be used as an intervention or therapeutic lifestyle change that would fulfil important psychological requirements. This would assist in enhancing the health, through exercise, the well-being, through participation in the outdoors environment and therefore the overall quality of life of individuals participating in a sedentary lifestyle behaviour, such as excessive Internet or video gaming.

Through surfing man enters the domain of the wave, is contained by and participates in its broadcast, measures and is in turn measured, meets its rhythm and establishes his own, negotiates continuity and rupture. The surfer transforms the surfbreak into an architectural domain. This thesis undertakes a critical exploration of this domain as a means of expanding and enriching the territory of the architectural imagination.

Through surfing man enters the domain of the wave, is contained by and participates in its broadcast, measures and is in turn measured, meets its rhythm and establishes his own, negotiates continuity and rupture. The surfer transforms the surfbreak into an architectural domain. This thesis undertakes a critical exploration of this domain as a means of expanding and enriching the territory of the architectural imagination.

At the base of my creative research project lie (a) the contention that within the field of contemporary abstract painting there is an intrinsic relationship between the gesture and the sublime and (b) the intention to explore this relationship through experimentation in the production of artefacts complemented by investigation of relevant academic and theoretical commentary and explication. However, my lifelong involvement with surfing and with its art and culture provided in the first place an intuitive knowledge of the relationship between the gesture and the sublime and, in the second, a source of comparison and parallels in regard to this relationship that informed and interacted with the processes both of creative experimentation and scholarly investigation. This dynamic interplay was active and continued throughout the whole research project. In consqeuence its effects are evident not only in the aftefacts themselves but also in the structure of the exegesis which, in following the course of the interplay and in providing commentary on the artefacts, draws upon and interweaves personal experience, perceptions and insights with facets and characteristics of the history and evolution of contemporary abstraction, the art of surfing and surf art. / Thesis (MVisualArts)--University of South Australia, 2007.

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Chiropractic, Durban University of Technology, 2009. / Modern surfing dates as far back as the 1960’s when the first amateur and professional surfing competitions were held (1). Since these humble beginnings, surfing has enjoyed a sustained growth over the last half a century, principally through increased commercialization of surfing apparel and an increased positive association with the lifestyle of surfers. Objectives: The aim of this study was to determine a retrospective cohort analysis of the injury profile of internationally competitive surfers and provide information on chronic, repetitive strain injuries suffered by them. Therefore, for the purpose of this study, the following information was gathered in order to create an injury profile: • Demographics of internationally competitive surfers competing in the Mr. Price Pro, Durban, South Africa, • Prevalence of surfing injuries, • Treatment received for injuries. Methods: This study was a retrospective, quantitative, epidemiological study (9), on the Chiropractic Student Sports Association’s (CSSA) questionnaire in order to produce a retrospective cohort analysis of the injury profile of internationally. On entry into the Chiropractic treatment facility, the surfer is requested to complete their portion of the CSSA questionnaire. Thereafter the senior intern then takes a brief case history, elaborating on the information provided by the surfer, followed by a standard clinical assessment related to the anatomical region or list of differential diagnoses based on the history. iv The study was limited to any surfer, male or female, who was competing on the World Championship Tour or the World Qualifying Series and registered to compete in the Mr. Price Pro. Results: Chronic injuries made up for 52.7% of surfing injuries, with the spine and surrounding musculature being the most commonly affected regions. Factors associated with injury were the repetitive nature of certain aspects of surfing and the age of the surfer. The findings in this study concurred with previous literature with the respect to sustaining of an injury related to surfing. However, many of the findings in this study differed to that of previous literature with respect to the common site of injury. The spine was the most common site of injury, as opposed to lower extremities as had been previously reported. The factors associated with injury also differed somewhat from previous literature. Therefore, this warrants further investigation with due consideration to the recommendations from this study.

In this PhD thesis, the lives and experiences of a group of combat veterans who began surfing following their return from war are explored. Having encountered life changing traumatic events and experienced much suffering (with many becoming diagnosed with post-traumatic stress disorder), these veterans joined an ex-services charity called Surf Action where they were introduced to surfing alongside other veterans who shared their suffering. The purpose of this research is to explore the effects of surfing and, more broadly, of participation in the charity Surf Action in the veterans lives and on their well-being. It is the first in-depth qualitative investigation of surfing in the lives of combat veterans. Using a combination of life history interviews and participant observation, I collected and analysed stories from the veterans about their lived experiences. Through rigorously applying the innovative analytical approach of dialogical narrative analysis (Frank, 2010, 2012), also inspired by phenomenology, the effects of the veterans stories both on and for their lives and well-being are examined. The analysis first demonstrates that stories of surfing were focused on the veterans physical and sensory interactions with the ocean environment, and helped to cultivate the notion of embodied respite from suffering. It is then suggested that by telling and enacting a collective story, the veterans at Surf Action (the Combat Surfers ) created a therapeutic community through which they accessed mutual support, recreated positive military identities associated with camaraderie, and legitimised their struggles with PTSD. Next, the masculine performances which shaped the veterans actions and narratives around help-seeking and dealing with PTSD are highlighted. Furthermore, the analysis reveals the meanings associated with moving beyond the chaotic influence of trauma in the veterans lives and suggests ways of keeping well following trauma and PTSD. The thesis also incorporates an ethnographic creative non-fiction as a way of enhancing knowledge translation and facilitating wider impact and dissemination of the findings. Finally, the thesis concludes with empirical, theoretical, methodological, and practical implications of the research, with an emphasis throughout on what to the study adds to knowledge. The potential of surfing to contribute to veterans healthcare is discussed alongside recommendations for the charity Surf Action and future possibilities for expanding this research.