Academic literature on the topic 'Apartheid Museum (Johannesburg, South Africa)'
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Journal articles on the topic "Apartheid Museum (Johannesburg, South Africa)"
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Bonnes, Stephanie, and Janet Jacobs. "Gendered Representations of Apartheid: The Women’s Jail Museum at Constitution Hill." Museum and Society 15, no. 2 (July 12, 2017): 153–70. http://dx.doi.org/10.29311/mas.v15i2.830.
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This article examines the ways in which women are represented and remembered at The Women’s Jail at Constitution Hill museum, a former women’s jail that was used to incarcerate women during apartheid in Johannesburg, South Africa. Based on fieldwork at the museum, this study examines how the memory of the former prisoners and of the apartheid regime is shaped and narrated at this site. Situating our analysis within the context of the collective memory of apartheid, we examine how the museum uses artifacts and objects to depict both the specific forms of gendered dehumanization that women experienced at the jail, as well as their journeys to incarceration as a result of discriminatory apartheid laws. We also examine the absence of torture memory and references to hierarchical structures and interactions within the jail itself, noting that these were important dynamics of prison life that are not represented in the museum. This research presents a content and visual analysis of how the use of images and artifacts may illuminate and/or silence specific memories of degradation and humiliation in a museum space.Key Words: Collective Memory, Museums, Representation, South Africa, ApartheidMemorialization, Gender and Memorialization
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Naidoo, Muthal. "Maniben Sita: South Africa’s Anti-apartheid Heroine." ANTYAJAA: Indian Journal of Women and Social Change 1, no. 2 (December 2016): 182–90. http://dx.doi.org/10.1177/2455632716685617.
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This is a portrait of the anti-apartheid struggle for freedom in South Africa by Maniben Sita, a follower of Gandhi, who adopted satyagraha to oppose injustice. In 1946–47, Maniben organised a women’s contingent to demonstrate against the restrictive laws that were being promulgated to curb Indians’ access to land and trading rights. As executive member of the Transvaal Indian Congress and later in the Defiance Campaign of the 1950s she continued her advocacy of justice for all. She was sent to prison several times during her long involvement in the anti-apartheid struggle. She is recognised as one of South Africa’s heroines and her portrait hangs in the Apartheid Museum in Johannesburg.
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Bakre, Opeyemi, and Takalani Mudzanani. "An Exploration of the Use of Marketing Public Relations at the Apartheid Museum in Johannesburg, South Africa." African Journal of Business and Economic Research 17, no. 3 (September 6, 2022): 213–37. http://dx.doi.org/10.31920/1750-4562/2022/v17n3a10.
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The Apartheid Museum is a non-profit organisation that relies on the generosity of government and private organisations, as well as the sale of gate tickets. It, thus, relies on building and sustaining a long-term relationship with its visitors to earn their loyalty and support. Marketing public relations (MPR) is a concept which has been explored by numerous studies in commercial contexts. The aim of this study was to explore the use of marketing public relations at the Apartheid Museum in Johannesburg, South Africa. In order to do so, a survey involving 384 visitors was conducted. The data from the questionnaires were analysed using the SPSS software. The study found that the museum uses such marketing relations tools as exhibitions, sponsorships, seminars, trade shows, its website, social media, media relations and publications. The practical significance of the article resides in its provision of MPR guidelines for organisations such as the Apartheid Museum for the purposes of building long-term, meaningful relations with its customer stakeholders. In addition, its academic significance lies in the meaningful contribution it makes to MPR scholarship.
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Cairncross, Bruce. "The Geological Museum, Johannesburg, South Africa." Rocks & Minerals 76, no. 2 (March 2001): 120–27. http://dx.doi.org/10.1080/00357520109603206.
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Cairncross, Bruce. "Two South African Museums: The Johannesburg Geological Museum,Johannesburg, South Africa." Rocks & Minerals 87, no. 5 (September 2012): 418–20. http://dx.doi.org/10.1080/00357529.2012.709159.
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Abrahams, Caryn, and David Everatt. "City Profile: Johannesburg, South Africa." Environment and Urbanization ASIA 10, no. 2 (August 21, 2019): 255–70. http://dx.doi.org/10.1177/0975425319859123.
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The city of Johannesburg offers insights into urban governance and the interesting interplay between managing the pressures in a rapidly urbanizing context, with the political imperatives that are enduring challenges. The metropolitan municipality of Johannesburg (hereafter Johannesburg), as it is known today, represents one of the most diverse cities in the African continent. That urbanization, however, came up hard against the power of the past. Areas zoned by race had been carved into the landscape, with natural and manufactured boundaries to keep formerly white areas ‘safe’ from those zoned for other races. Highways, light industrial plant, rivers and streams, all combined to ensure the Johannesburg landscape are spatially disfigured, and precisely because it is built into the landscape, the impact of apartheid has proved remarkably durable. Urban growth is concentrated in Johannesburg’s townships and much of it is class driven: the middle class (of all races) is increasingly being found in cluster and complexes in the north Johannesburg, while poor and working-class African and coloured communities in particular are densifying in the south. The racial and spatial divisions of the city continue to pose fundamental challenges in terms of governance, fiscal management and spatially driven service delivery.
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Jürgens, Ulrich, and Martin Gnad. "Gated Communities in South Africa—Experiences from Johannesburg." Environment and Planning B: Planning and Design 29, no. 3 (June 2002): 337–53. http://dx.doi.org/10.1068/b2756.
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In the course of a broad liberalisation and globalisation of South African society, the transformation of the apartheid city to the postapartheid city has contributed to an increase in crime as well as a feeling of insecurity among the people. Urban blight has changed a lot of the inner cities into ‘no-go areas’ for blacks and whites. For personal protection, since the end of the 1980s (the phase of the abolition of apartheid laws) living areas have been created in the suburbs whose uniqueness and exclusiveness are defined by the amount of safety measures. These are called gated or walled communities, or security villages, and their population structure combines social and racial segregation. The authors made a complete survey of two housing areas in northern Johannesburg in 1999. The traditional wish of South African families for a big estate and a home of their own has been replaced by the wish to live in town houses, cluster housing, and sectional title flats with shared use of swimming pools or tennis courts.
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Mututa, Addamms. "Battered bodies: Characterizing Johannesburg’s apartheid past and present in Gavin Hood’s Tsotsi." Journal of African Cinemas 12, no. 2-3 (December 1, 2020): 213–28. http://dx.doi.org/10.1386/jac_00037_1.
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Narratives of traumatic citizenship not only raise questions about the past, but also they give voice to contemporary stories about this past. In post-apartheid South Africa, these questions, markers of apartheid temporality, are embodied in, among other sites, the representation of battered Black bodies in cinema. This article critiques the characterization of Blacks as narrative spaces to illustrate the temporality of distress and trauma from apartheid to post-apartheid Johannesburg in Gavin Hood’s Tsotsi. It argues that the film posits Black characters as latent archives of intergenerational historical narratives that probe the apartheid past and speculate on the post-apartheid future in the city of Johannesburg. Consequently, the juxtaposition of embodied narrative archives and apartheid temporality, the article posits, is a crucial model in the theorization of battered Black bodies’ contiguous nostalgia.
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Burns, Hilary. "The Market Theatre of Johannesburg in the New South Africa." New Theatre Quarterly 18, no. 4 (November 2002): 359–74. http://dx.doi.org/10.1017/s0266464x02000477.
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The Market Theatre of Johannesburg opened in 1976, the year of the Soweto Uprising – the beginning of the end for the oppressive apartheid regime. Founded by Barney Simon, Mannie Manim, and a group of white actors, the theatre's policy, in line with the advice to white liberals from the Black Consciousness Movement, was to raise the awareness of its mainly white audiences about the oppression of apartheid and their own social, political, and economic privileges. The theatre went on through the late 'seventies and 'eighties to attract international acclaim for productions developed in collaboration with black artists that reflected the struggle against the incumbent regime, including such classics as The Island, Sizwe Bansi is Dead, and Woza Albert! How has the Market fared with the emergence of the new South Africa in the 'nineties? Has it built on the past? Has it reflected the changes? What is happening at the theatre today? Actress, writer, and director Hilary Burns went to Johannesburg in November 2000 to find out. She worked in various departments of the theatre, attended productions, and interviewed theatre artists and members of the audience. This article will form part of her book, The Cultural Precinct, inspired by this experience to explore how the theatres born in the protest era have responded to the challenges of the new society.
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Bond, Patrick. "In South Africa, “Rhodes Must Fall” (while Rhodes’ Walls Rise)." New Global Studies 13, no. 3 (November 18, 2019): 335–50. http://dx.doi.org/10.1515/ngs-2019-0036.
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AbstractThe African borders established in Berlin in 1884–85, at the peak of Cecil John Rhodes’ South African ambitions, were functional to the main five colonial-imperial powers, but certainly not to African societies then, nor to future generations. The residues of Rhodes’ settler-colonial racism and extractive-oriented looting include major cities such as Johannesburg, which are witnessing worse inequality and desperation, even a quarter of a century after apartheid fell in 1994. In South Africa’s financial capital, Johannesburg, a combination of post-apartheid neoliberalism and regional subimperial hegemony amplified xenophobic tendencies to the boiling point in 2019. Not only could University of Cape Town students tear down the hated campus statue of Rhodes, but the vestiges of his ethnic divide-and-conquer power could be swept aside. Rhodes did “fall,” in March 2015, but the South African working class and opportunistic politicians took no notice of the symbolic act, and instead began to raise Rhodes’ border walls ever higher, through ever more violent xenophobic outbreaks. Ending the populist predilection towards xenophobia will require more fundamental changes to the inherited political economy, so that the deep structural reasons for xenophobia are ripped out as convincingly as were the studs holding down Rhodes’ Cape Town statue.
Dissertations / Theses on the topic "Apartheid Museum (Johannesburg, South Africa)"
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Sippel, Elizabeth. "The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.
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When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.
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Enthoven, Adrian. "The limits of local negotiations : politics in Greater Johannesburg, 1989-1998." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324336.
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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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Buthelezi, Vincent Vusi. "The South African Jewish Museum and the Lwandle Migrant Labour Museum: Serving different publics in two community museums in the Western Cape." University of the Western Cape, 2005. http://hdl.handle.net/11394/6474.
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Magister Artium - MAThe 1990s came with many changes and developments in South Africa, especially in the political and social lives of people and their public institutions. The concept of transformation and transition became a household word, from red-carpeted parliamentary corridors to tiny gravel township streets and villages in rural communities. Two community museums emerged in the Western Cape cultural and heritage landscape in response to these political changes: the South African Jewish Museum and the Lwandle Migrant Labour Museum. The extensively revamped South African Jewish Museum, which opened its doors in 1997, is situated in centre of the city of Cape Town (which under apartheid was designated as a white area). It is accommodated in the one of the oldest buildings in South Africa, the original building of the first SA Jewish synagogue built in 1862. The building has been extended, added to and extensively refurbished. The Lwandle Migrant Labour Museum is an entirely new institution in the post apartheid democratic South Africa. It is situated in a township forty kilometers from the Cape Town city centre. During the days of apartheid Lwandle township was designated as a place for black male hostel dwellers. The museum is accommodated in an old community hall, which was once a hostel dwellers recreational hall.
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Hayes-Roberts, Hayley Elizabeth. "Frameworks of representation: A design history of the District Six Museum in Cape Town." University of the Western Cape, 2020. http://hdl.handle.net/11394/7282.
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Philosophiae Doctor - PhDSince 1994, the District Six Museum, in constructing histories of forced removals from District Six, Cape Town, commenced as a post-apartheid memory project which evolved into a memorial museum. Design has been a central strategy claimed by the museum in its process of making memory work visible to its attendant publics evolving into a South African cultural brand. Co-design within the museum is aesthetically infused with sensitively curated exhibitions and a form of museumisation, across two tangible sites of engagement, which imparts a unique visual language. The term design became extraordinarily popular in contemporary Cape Town, where the city was - in 2014 -the World Design Capital. Yet at the same time as design was being inscribed into the public imaginary, it was simultaneously curiously undefined although influential in shifting representational aesthetics in the city. This research seeks to ask questions about this proliferation of interest in design and to examine this through a close reading of the work of the District Six Museum situated near District Six. In particular, micro and macro design elements are explored as socio-cultural practice in re-imagining community in the city that grew out of resistance and cultural networks. Various design strategies or frameworks of representation sought to stabilize and clarify individual and collective pasts enabling and supporting ex-residents to reinterpret space after loss, displacement and separation and re-enter their histories and the city. Post-apartheid museum design modes and methodologies applied by the District Six Museum as museumisation disrupts conventional historiographies in the fields of art, architectural and exhibition design, where the focus is placed on temporal chronologies, in a biographic mode profiling examples of works and designers/artists. Instead, the research contextualises the work of design as making in a more open sense, of exploring the very constructedness of the museum as a space of method, selection, process and representation thereby asking questions about this reified term design as method and practice. The designing ways of the District Six Museum contribute to understanding idioms mediated through design frameworks allowing for a departure from the limited ways design history has been written. Through an unlayering of projects, practices and an examination of archival case studies, exhibition curation, the adaptive reuse of buildings and through institutional rebranding my argument is that the particularities of the claims to design work at the District Six Museum provide a rich case for relating to other contemporaneous processes of making apartheid’s spatial practices visible as projects such as this claim community. Therefore seeking to demystify how this community museum ‘making’ has been fashioned through an investment in various design disciplines, forms and practices revealing the inherent complexity in doing so.
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Bakre, Opeyemi Habeeb. "An exploration of the use of marketing public relations at the Apartheid Museum in Johannesburg, South Africa." Diss., 2018. http://hdl.handle.net/10500/26026.
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Text in English with abstracts in English and AfrikaansCultural tourism is one of the growth areas of the tourism industry globally. Cultural tourism refers to visits motivated by cultural offerings. Cultural offerings include museums, castles, cultural landscapes and historical sites. The Apartheid Museum is a non-profit organisation, which relies on generosity of government, private organisations and sales of gate tickets. It thus relies on building and sustaining a long-term mutual relationship with its visitors to earn their loyalty and support. Marketing public relations is a concept, which has been explored in commercial contexts by numerous studies. However, there is still limited literature on the adoption and the use of marketing public relations in the context of a non-profit organisation such as a museum. The aim of this study was to explore the use of marketing public relations at the Apartheid Museum in Johannesburg, South Africa. In order to explore the use of marketing public relations at the museum, a survey involving 384 visitors and in-depth interviews with six marketing staff members were conducted. The data from the questionnaire were analysed using the SPSS software. The data collected from the in-depth interviews were analysed using thematic analysis. The study revealed that the museum does not deploy marketing public relations tools in an integrated manner. Its significance resides in that it provides marketing public relation guidelines to organisations like the Apartheid Museum for purposes of building long term and meaningful relations with their customer stakeholders.
Kulturele toerisme neem wêreldwyd snel toe. Kuturele toerisme verwys na “besoeke gemotiveer deur kulturele aanbiedings”. Dit sluit besoeke aan museums, kastele, kulturele landskappe en historiese terreine in. Die Apartheid-museum is ’n organisasie sonder winsbejag wat op die vrygewendheid van die regering en private instansies asook kaartjieverkope by die toegangshek staatmaak. Dit reken dus op die aanknoop en instandhouding van langtermynverhoudings met sy besoekers om hulle lojaliteit en ondersteuning te verseker. Openbare betrekkinge-bemarking is ’n konsep wat in kommersiële konteks deur verskeie studies ondersoek is. Daar is egter nog min literatuur oor die aanvaarding en gebruikmaking hiervan in die konteks van ’n organisasie sonder winsbejag soos ’n museum beskikbaar. Die doel van hierdie studie was om die gebruike van openbare betrekkinge-bemarking by die Apartheidsmuseum in Johannesburg, Suid-Afrika te ondersoek. Om hierdie doel te bereik is ’n vraelys deur 384 besoekers voltooi en indiepte onderhoude met ses skakelbeamptes op die personeel gevoer. Die data van die vraelys is met behulp van SPSS-sagteware deur die gebruik van tematiese analise geëvalueer. Hierdie studie het getoon dat die museum nie op ’n geïntegreerde manier die bemarkingsgeleenthede vir openbare betrekkinge benut nie. Die belangrikheid van hierdie studie is geleë in die feit dat dit riglyne aan organisasies soos die Apartheidsmuseum voorsien met die doel om langtermyn- en betekenisvolle verhoudings met hulle kliëntedeelhebbers op te bou.
Communication Science
M.A. (Communication)
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Baro, Gilles Jean Bernard. "The language of post-apartheid urban development: the semiotic landscape of Marshalltown in Johannesburg." Thesis, 2017. https://hdl.handle.net/10539/24555.
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A dissertation submitted to the School of Language, Literature and Media, Faculty of Humanities for the degree of Doctor of Philosophy, March 2017Although the burgeoning fields of linguistic and semiotic landscapes (LL and SL) studies provide extensive coverage of urban settings around the globe, it lacks a focus on urban development and the associated phenomenons such as gentrification, with the notable exception of Lou (2016). This dissertation looks at the neighbourhood of Marshalltown, located in the inner city of Johannesburg. Marshalltown is known as the mining district because of its proximity to the original goldmines that sparked the growth of the city. The neighbourhood’s SL has radically shifted from a place of urban decay to a trendy neighbourhood since the late 1990s, after urban development efforts financed by the private sector made the area stand out from the rest of the inner city. The developers working in Marshalltown have purposefully filled it with signs indexing the mining heritage its businesses which tend to cater to the middle-to-upper-classes, thus excluding poorer residents which make up most of the inner city’s population. Against this backdrop, the dissertation aims to answer the following three research questions: 1) How is Marshalltown constructed as a space of heritage, both in its materiality and in its representation in a corpus of media texts? 2) Considering that heritage entails a selection process from a more general historic field, which sections of history are curated in Marshalltown’s SL, which are silenced, and what are the implications for the narratives displayed in the context of post-apartheid South Africa? 3) How is Marshalltown’s urban environment experienced by social actors in a context of globalized trends in urban design which rely on heritage and authenticity to market formerly ignored city centres? The data for this study consists of a corpus of 25 media articles from various outlets, 255 photographs of Marshalltown and its vicinity, ethnographic field notes written between 2012 and 2016, as well as interviews with developers, heritage architect, a deputy director of immovable heritage at the City of Johannesburg, shop owners and people who work in the area. This dissertation aims to contribute to the young field of SL studies, while bringing forth Scollon and Scollon’s (2003) methodological toolkit of geosemiotic which allows for an analysis of signs in place and how people interact with them to draw a pertinent analysis of the construction of place. Geosemiotics is coupled with specific themes for each analytical chapter which brings forth a new way of analysing a SL. Those themes are 1) the language of urban development which drawing on Markus and Cameron (2002) helps analyse the representation of city neighbourhoods; 2) heritage, which brings a temporal perspective to SL studies that I call a chronoscape; 3) authenticity, which brings a visual analysis addition to the recent debate on the topic within sociolinguistics scholarship (Coupland 2003, Bucholtz 2003 and Eckert 2003) and its focus on the discursive construction of what counts as authentic. This study argues that Marshalltown’s post-apartheid SL is carefully designed by a majority of (white) developers wanting to give the area a heritage feel, borrowing from the mining history of the city; thus anchoring a European influenced heritage within their own interpretation of what an African city should look like. The heritage feel of Marshalltown is part of a broader plan to reclaim the city, which means changing the image it acquired previously during an era of urban decay as a dangerous no-go area, into an attractive tourism-friendly urban space. Those changes are achieved by inserting development efforts into the market for authentic urban lifestyle which Marshalltown can provide thanks to its preserved history. The neighbourhood stands out from the rest of the inner city by being privately controlled and maintained thus distancing itself from the popular discourse of inner city Johannesburg and instead developers redesign it as an ideal space for consumption.
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Greyling, Michelle. "An Undivided Landscape: Dissolving Apartheid buffer zones in Johannesburg, South Africa." Thesis, 2013. http://hdl.handle.net/10012/7504.
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Progressive spatial segregation of Whites from other ethnic races in South Africa started
in 1886. Apartheid rulers evicted three and a half million Blacks, Coloureds and Indians
from white urban and residential areas between 1904 and 1994. Apartheid planners
used natural, mining, industrial, and infrastructural buffer zones to spatially enforce
segregation. They based their apartheid spatial governance on separation and control
and not on urban development. Today remnants of apartheid remain deeply embedded
in the urban framework, where large buffer zones continue to enforce segregation and
disrupt economic growth.
Victims of apartheid legislation believed the eradication of apartheid in 1994 meant
the right to live in the city and the end of forced evictions. Since then the post-Apartheid
government has conducted 2 million evictions, reminiscent of the 3.5 million evictions
during the apartheid years. In an attempt to make Johannesburg a `world class city`,
the municipality forcefully removed the poor from the city, and relocated them to rural
locations where their livelihoods are severely challenged. To many, a new ``apartheid`
has been born; one that segregates the rich and the poor.
The government has released several strategies to provide land for the poor near the
city, but the high cost of land in urban areas has disrupted implementation.
The thesis proposes a three-fold strategic design intervention to provide land for the
poor near the city and dissolve the apartheid-designed buffer zone between Soweto
and Johannesburg. The site, a landmark from the apartheid spatial legacy and part of
the Witwatersrand gold mining belt, separates Soweto, home to four million Blacks,
from the city of Johannesburg. About one and a half million people commute to the
city each day passing by the 14 km stretch of this toxic mining land.
The thesis proposes three urban design strategies to transform the site into a
community, which the local people would build: Remediation strategies to address
the toxic mining landscape, infrastructural strategies to provide basic services and
economic strategies to promote economic growth. These strategies operate in a codependent
structure. Co-op centres implement these strategies, transfering strategy
technologies to the local community.
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Putter, Anne. "Reinventing and reimagining Johannesburg in three post-apartheid South African texts." Thesis, 2012. http://hdl.handle.net/10210/8143.
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M.A.'Writing the city'‘, particularly writing the city of Johannesburg, in post-apartheid South African fiction can be considered as a new approach to interpreting South African culture; a new approach that takes into consideration and reflects the changes taking place in present-day South African society. By means of close textual analysis, this study examines the ways in which the city of Johannesburg is in the process of being re-imagined and reinvented in post-apartheid South African fiction and, therefore, in the post-apartheid memory. Particular attention is paid to narrative techniques utilised in the primary material as a means of not only re-writing the space of the city, but the space of South Africa as well. This is essential in order to reveal how transformation is narrated in post-apartheid, transitional texts and how this narration changes in post-transitional South African fiction. The chosen texts are read and interpreted as a type of cultural history or memory – as a means of constructing South African culture and history through textual production. In particular, this dissertation illustrates how texts written on Johannesburg, such as Phaswane Mpe‘s Welcome To Our Hillbrow (2001), Ivan Vladislavić‘s The Restless Supermarket (2001) and Kgebetli Moele‘s Room 207 (2006) are utilising the subject matter and every day life of the city as an 'idea‘; as a means of expressing societal concerns and other important changes taking place in the country as a whole. This study focuses on how each of the three chosen novels contributes to South African culture and history by narrating its transformative history. Topics such as the depiction of Johannesburg as a palimpsest and as a cultural archive of historical moments in present-day South Africa are explored. In this regard, themes and representations of movement, transition and transformation in the city of Johannesburg, as well as attempts to memorialise this space, are dealt with. In addition, the representation of a 'gendered‘ city as a means of narrating such transformation is also discussed. Here, reference is made to concerns such as the shifting position of men and women in the city, changing gender-related city consciousness, and altered gender discourse surrounding the city. This dissertation identifies and considers how depictions of the city of Johannesburg are being altered and modified in contemporary South African literature and contemplates the ways in which the narratives reveal how transformation is narrated via the Johannesburg landscape.
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Bam, Angela Phindile. "A discourse analysis of the urban imaginaries represented in tourism marketing for Johannesburg in the post-apartheid era." Thesis, 2016. https://hdl.handle.net/10539/24113.
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A thesis submitted to the Faculty of Engineering and the Built Environment in partial fulfilment of the requirements for the degree of Master of Urban Studies, Johannesburg 2016Like many cities around the world Johannesburg began marketing to attract tourists in the 1990s. Johannesburg has in the last couple of years become a ‘hot’ tourism destination and is increasingly ranked among the top global tourist destinations. Tourist cities market their cultural, historical shopping, entertainment and lifestyle attractions to attract tourists and wealthy residents. They also regenerate older historical districts or build new attractions in the form of high profile infrastructure and architecture. To attract tourists, cities use discourse to represent themselves in certain ways to the prospective tourist. This discourse found in tourism marketing and other communications; creates certain expectations or commonly held imaginings of a city as a tourism destination. These are referred to as tourism imaginaries. In cities these ‘tourism imaginaries’ become absorbed as urban imaginaries that shape not only tourist spaces, but the whole city. The research aims to deconstruct the imaginaries represented in Johannesburg’s tourism marketing to understand how tourism is shaping Johannesburg in line with this view. Discourse analysis is used as a method to achieve this. Michel Foucault understood discourse as a system of representation, where discourse is a way of creating meaning by representing knowledge and exercising power around a subject at a certain time in history and in a particular way. Besides the content analysis of the tourism marketing, the discourse analysis also captured how tourism businesses in three case study sites namely Newtown Precinct, Vilakazi Street and Montecasino Entertainment Complex have responded to the discourses in the City’s tourism marketing. A central argument made is that the drive to create tourist cities reinforces rather than reduces power inequalities and creates further fragmentation by creating pockets of exceptionalism reserved for tourists. The research contributes to the recent interest in the cultural and political understandings of cities which considers the often invisible or overlooked manifestations of power that shape cities. In the research tourism imaginaries are conceptualised as central in the generation and shaping of social practices in the City. It was concluded that the move to create tourist cities has given tourists and other tourism actors symbolic power, shaping the city by remote control, and therefore reinforcing global power dynamics that have shaped the world since colonial times.
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Books on the topic "Apartheid Museum (Johannesburg, South Africa)"
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Rensburg, Ihron Lester. Serving higher purposes: University mergers in post-apartheid South Africa. [South Africa]: Sun Press, 2020.
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Bleakness & light: Inner-city transition in Hillbrow, Johannesburg. Johannesburg, South Africa: Witwatersrand University Press, 1999.
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Taming the disorderly city: The spatial landscape of Johannesburg after apartheid. Ithaca: Cornell University Press, 2008.
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Ginsburg, Rebecca. At home with apartheid: The hidden landscapes of domestic service in Johannesburg. Charlottesville: University of Virginia Press, 2011.
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Shear, Mervyn. Wits: A university in the apartheid era. Johannesburg: University of the Witwatersrand, 1996.
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Páraic, Réamonn, and World Alliance of Reformed Churches (Presbyterian and Congregational), eds. Farewell to apartheid?: Church relations in South Africa ; the WARC Consultation in South Africa, March 1-5, 1993, Koinonia Centre, Judith's Pearl, Johannesburg. Geneva: World Alliance of Reformed Churches, 1994.
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Bozzoli, Belinda. Theatres of struggle and the end of apartheid. Edinburgh: Edinburgh University Press, 2004.
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Theatres of struggle and the end of apartheid. Athens, Ohio: Ohio University Press, 2004.
Find full textBook chapters on the topic "Apartheid Museum (Johannesburg, South Africa)"
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Hlongwane, Ali Khangela, and Sifiso Mxolisi Ndlovu. "Workers’ History in the Post-Apartheid Memory/Heritage Complex: Public Art and the Workers’ Museum in Johannesburg." In Public History and Culture in South Africa, 43–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14749-5_2.
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Leedy, Todd H. "Racing on the Rand: Black Competitive Cycling around Johannesburg, 1930–1960." In Sport and Apartheid South Africa, 9–25. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205272-2.
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Mihindou, Guy R. "Language and Academic Literacies Development at the University of Johannesburg." In Transformation of Higher Education Institutions in Post-Apartheid South Africa, 27–36. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351014236-3.
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Trento, Giovanna. "Dante’s Journey Through Our Lives: Reading La Commedia in Post-Apartheid South Africa." In Studi e saggi, 105–15. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-458-8.06.
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By appropriating the notions of journey and exile—that are at the core of Dante’s life and work—the texts we are examining in this publication are able to refer to/relate to the conditions of exile, exclusion, and segregation that were proper to Apartheid and still affect post-Apartheid South Africa. The works of Erich Auerbach and Franco Fortini (who unexpectedly in the 1980s accepted an invitation of the University of the Witwatersrand in Johannesburg) help us to read these texts within the wider frame of 20th and early 21st interpretations and rereading of Dante’s Commedia.
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Hlongwane, Ali Khangela, and Sifiso Mxolisi Ndlovu. "Traces, Spaces and Archives, Intersecting with Memories, Liberation Histories and Storytelling: The Apartheid Museum and Nelson Mandela House Museum." In Public History and Culture in South Africa, 217–49. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14749-5_7.
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Newbury, Darren. "Living Historically through Photographs in Post-Apartheid South Africa: Reflections on Kliptown Museum, Soweto." In Curating Difficult Knowledge, 91–108. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230319554_6.
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Autry, Robyn. "Introduction." In Desegregating the Past, 1–26. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231177580.003.0001.
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It’s a poor sort of memory that only works backwards. — Lewis Carroll, Through the Looking Glass AT THE entrance of the Apartheid Museum located just outside of Johannesburg, South Africa, visitors face a dilemma: they must choose between two passageways marked in Afrikaans and English as “Blankes/Whites Only” or “Nie-Blankes/Non-Whites.” Generally, this causes a commotion, especially on days when large groups of schoolchildren and tourists descend, as visitors uncomfortably consider their options. On many occasions, people sort themselves and file into the separate entrances even if it means splintering groups that arrived together. This powerful moment speaks to the complacency still ingrained in us when it comes to the use of racial classification as a sorting mechanism as much as it does to our willingness to obey rules, whether those of the museum or society at large. Visitors are quickly reunited as the passageways join, but the initial entrance is unsettling and immediately places the visitor in a simulated space that feels more real and personal than most museum experiences....
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Netshakhuma, Nkholedzeni Sidney. "Assessing South Africa Museum Transformation Since 1994." In Handbook of Research on Museum Management in the Digital Era, 155–74. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9656-2.ch009.
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This chapter assesses museum transformation since the demise of the apartheid government. The literature review was used. The author found that a lot needs to be done in South Africa to integrate South Africa communities. This is because South Africa museums still divide. The review of literature found that most museums still preserve white supremacy museum artefacts.
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Henama, Unathi Sonwabile, and Portia Pearl Siyanda Sifolo. "Religious Tourism in South Africa." In Global Perspectives on Religious Tourism and Pilgrimage, 104–28. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2796-1.ch007.
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The growth of tourism in South Africa after the end of apartheid can be associated with the growth of various forms of special interest tourism. Religious tourism as a form of special interest tourism is possibly the most important contributor of tourism geographical dispersion in South Africa. South Africa's religious tourism is dominated by Christian religious pilgrimage. Religious pilgrimages produce positive spin off for many destinations in South Africa, which may not be regarded as traditional tourism destinations. Religious-linked domestic travel continues to dominate domestic tourism expenditure. The existence of several African Initiated Churches such as the Zion Christian Church and the Nazareth Baptist Church attract several million worshippers during their religious pilgrimages, attracting worshippers beyond South Africa. Robben Island, which is a shrine for the anti-apartheid struggle, has a glorious Muslim resistance history, which is yet to be exploited by the Robben Island Museum. This chapter adds to the academic literature on religious tourism.
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Bezuidenhout, Andries, Sonwabile Mnwana, and Karl von Holdt. "Introduction: Critical Engagement in South Africa and the Global South." In Critical Engagement with Public Sociology, edited by Andries Bezuidenhout, Mnwana Sonwabile, and Karl von Holdt, 1–18. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781529221145.003.0001.
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This volume identifies South Africa as the birthplace of the concept of public sociology, popularized globally by Michael Burawoy, and charts the contrasting trajectories of ‘public sociology’ and ‘critically engaged sociology’ as found in South Africa. The focus is on researchers and research conducted at the Society, Work and Politics Institute (SWOP) at the University of the Witwatersrand, Johannesburg, as well as work by researchers associated with the institute through collaborations of one sort or another. The introduction goes on to provide a thumbnail sketch of SWOP and its history, founded as it was in 1983 in the most turbulent decade of popular uprisings against apartheid. It locates SWOP’s commitment to ‘critical engagement’ with popular movements, the democratic trade union movement in particular, in the context of the evolution of South African sociology and the particular space it occupied in the forging of a new radical and critical social science. The chapter goes on to provide a sketch of Burawoy’s successful campaign to popularize public sociology globally, and it ends with a description of the chapters collected in this volume.