Teses / dissertações sobre o tema "Johannesburg Art Gallery (South Africa)"

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.

This dissertation analyzes the relationship between curating and the contemporary art market, inscribing its enquiry in the realm of curatorial theory. Contributing to epistemological discussions on the notion of the curatorial, this study frames itself as an “economy of the curatorial”, an expression with which we define the sphere of economic relations of production and mediation engendered by curatorial practice and discourse in the contemporary art field. This field is considered increasingly dominated by market imperatives, since market players (commercial galleries, art fairs, and auction houses) have acquired an increasing authority in consecrating artists and, hence, in establishing both the economic and the symbolic value of art. Adopting a situated approach, this thesis is based on qualitative field research carried out in South Africa, and on the analysis of several instances that disclose the role of curators in the market of contemporary African art since 1989. The main case study is the analysis of curators’ role at the Goodman Gallery, which illustrates the performing of the curatorial within the marketplace.
Esta tesis propone un análisis de la relación entre la curaduría y el mercado del arte contemporáneo, inscribiéndose en el ámbito de la teoría curatorial. A la vez que contribuye a las discusiones epistemológicas sobre la noción de lo curatorial, este estudio propone pensar estas relaciones como parte de una “economía de lo curatorial”, expresión con la que definimos el ámbito de las relaciones económicas de producción y mediación generadas por la práctica y el discurso curatoriales en el campo del arte contemporáneo. Este campo se considera como cada vez más dominado por los imperativos del mercado, siendo que las galerías comerciales, las ferias de arte y las casas de subastas han adquirido autoridad a la hora de consagrar a los artistas y, por ende, de establecer tanto el valor simbólico como económico del arte. Adoptando un enfoque situado, esta tesis se basa principalmente en una investigación de campo llevada a cabo en Sudáfrica, y en el análisis de varios casos y coyunturas que revelan el papel de los curadores en el mercado del arte africano contemporáneo desde 1989. El caso de estudio clave consiste en el análisis del papel de los curadores en la galería Goodman, las cual ilustra como la curaduría opera en un contexto de mercado.

Background: Although clinicians encounter antimycobacterial treatment in Human mmunodeficiency (HIV)-infected children as one of the most common treatments coadministered with antiretroviral treatment (ART), quantitative data on the extent of antimycobacterial treatment among HIV-infected children at the time of commencement of ART and at different times during ART is scarce. The baseline risk factors associated with being on both ART and antimycobacterial treatments are not known and it remains to be elucidated how the different exposure factors impact on the antimycobacterial treatment-free survival of children who begin ART without antimycobacterial treatment.Objectives: To describe the prevalence of antimycobacterial treatment among children at the time of starting ART and the antimycobacterial treatment-free survival after starting ART. Design: A retrospective cohort study based on record reviews at the Harriet Shezi children&lsquo
s clinic (HSCC).Population: HIV-infected children less than fifteen years of age presumed ART naï
ve started on ART at HSCC.Analysis: A descriptive analysis of the prevalence of antimycobacterial treatment at time of start of ART was done. Kaplan Meier (KM) survival curves were used to determine the antimycobacterial treatment-free survival and logistic regression was used to analyze the association between baseline factors and future antimycobacterial treatment among children who had no antimycobacterial treatment at time of start of ART. Results: The prevalence of antimycobacterial treatment at the time of starting ART was 518/1941 (26.7%, 95% confidence interval (CI): 24.7-28.7). Among children who started ART without antimycobacterial treatment, the KM cumulative probability of antiretroviral and antimycobacterial (ART/antimycobacterial) co-treatment in the first 3 months of starting ART was 4.6% (95% CI: 4.1- 5.2), in the first 12 months it was 18.1% (95% CI: 17.0-19.2) and in the first 24 months of starting ART it was 24% (95% CI: 21.9-25.1). Survival analysis suggested that children with high baseline viral load, advanced World Health Organization (WHO) stage of disease, very low normalized weight for age (waz) and very young age (less than one year) at start of ART had significantly reduced antimycobacterial treatment-free survival (log rank p <
0.05) in the first two years of starting ART. In the logistic regression model, age less than one year {Odds ratio (OR): 3.7 (95% CI: 2.2-6.0
p <
0.0001)} and very low weight for age Z-score (waz <
-3) {OR
2.2 (95% CI: 1.4-3.6
p = 0.0015)} were the two critical risk factors independently associated with future antimycobacterial treatment. Conclusions: Antimycobacterial treatment is extremely common among HIV-infected children at the time of starting ART and early after starting ART and the incremental risk of being on ART/antimycobacterial co-treatment decreases with time on ART. The results emphasize the need for a heightened and careful alertness for mycobacterial events especially among children starting ART with severe malnutrition and those who start ART at age less than one year. The results further suggest that it is probably optimal to start ART in children before their nutritional status has deteriorated severely in the course of the HIV disease so that they get protection against mycobacterial events by early ART.

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.

A research report submitted to the Wits School of Arts in the Faculty of Humanities at the University of the Witwatersrand, in fulfilment of the requirements for the Masters Degree in Coursework and Research in Arts, Culture and Heritage studies. Johannesburg, 2015
One of the principal purposes of the Johannesburg Art Gallery (JAG), one of Johannesburg’s public institutions, is to educate the public through the arts. The many changes, including political changes, in South Africa that caused the movement of people from one area to another have affected the audience participation at this museum. The Johannesburg Art Gallery is located in Joubert Park, the southern part of Hillbrow, which has been affected by the changes that have taken place from the time of the museum’s inception to the present day, when the area is inhabited by black people from all over Africa. The concern is therefore to understand the relationship between these two. I plan to interrogate the mission of JAG, to find out if it is relevant to the community that it is located in, and if the community is aware and supportive of JAG’s activities. The purpose of this investigation is to challenge the methods that are used by JAG to obtain and maintain visitors to the museum, and to expand the target market group by shifting focus from the people that used to live within this community to the present-day inhabitants. This is done by finding out from the Joubert Park community what is it that they wish to see in this museum. By observing their everyday life and interviewing them, I explore why or how much the people of Joubert Park are involved in the Johannesburg Art Gallery today. To reach the conclusion of this research, observing the area and interviewing the community will be followed by interviewing the co-ordinators of the Joubert Park Project (started in 2000) that was designed for the purpose of involving this community in the public spaces and institutions around them, and finally the employees of the Johannesburg Art Gallery. In addition, studying recent successful exhibitions would possibly reveal the explanation of what people want to see. In this world of ever-changing technology and culture of cyber space, can a museum attract new audiences by using methods that are contemporary and interactive?

Master of Architecture [Professional] at the University of the Witwatersrand, Johannesburg, South Africa, in the year 2014.
In the case of Johannesburg, unlike cities around the world that experienced inner city decline, its city centre was never entirely abandoned. It experienced rapid social change. As Johannesburg was beginning to change, the Johannesburg Art Gallery (JAG) was experiencing a declining number of visitors. Unable to engage with the changing social structure, a fence was built around it and JAG turned itself inwards. This thesis explores the intention to take advantage of the rich and dynamic informal industry of hair that has emerged around JAG. Hair is loaded with social, sexual and political undercurrents. In an African city that has been colonized and becoming increasingly globalised, hair’s relevance in terms of politics must be brought to the forefront. By acknowledging the thriving inner workings and its contributors and by engaging in a critical discussion that people can relate to, JAG will be embraced by the community again. An intervention of mediation through architecture is proposed. A Hair Museum perched on the opposite side of the railway that weaves JAG closer into its current context by opening and improving dialogue between the disjointed surroundings. A new museum as a mediator explores the idea of museum-asurban system. The question is asked whether a public institution is capable of assisting a society through a museum by looking at the concept of the Greek ideal of kalokagathia, which means the perfection of the body and city based on balance, justice and proportion. This thesis essentially explores Julian Carman’s idea of a museum1; that the key to JAG’s survival and upliftment lies only if it inspires public ownership. This thesis will explore the significance of celebrating hair in an African city with visible impacts of an imperialist past. By celebrating hair, thereby beginning the discourse of it’s connotations, will allow for a transgression into where society and its’ perception of itself stands in a globalizating world. Museum’s play a key role in society to not only preserve memories but also re-ordering them and making sense of them for later generations (Watson, 2007: 4). The proposed Hair Museum as mediator is not so much about saving a contested and feared city- as much as it is about embracing the new spirit of the city and encouraging the potential held within. 1 Julian Carman, Author of ‘Uplifting The Colonial Philistine: Florence Phillips And The Making Of The Johannesburg Art Gallery’. See References.

M.Tech. (Fine Art)
The focus of this research is an exploration of aspects of liminality and how it manifests in selected unsanctioned public art interventions in ‘urban places’, specifically, the Johannesburg Central Business District. Liminality informs my own art work and to contextualise my practice I investigate Steven Cohen’s performance/intervention entitled Chandelier (2001-2002), and Alison Kearney’s The Portable Hawkers Museum (2003). I argue that unsanctioned public art maintains a liminal identity, a fluidity of ‘repurposing a space’ that is in constant shift between different dimensions of liminality. Such works create a zone between physical and conceptual space, challenging the relationships between people and places, the artist and the audience. Liminal spaces (such as the underside of bridges for example) provide the platform for new mediation to happen outside of the normal social structures. Homi Bhabha (1994:54) refers to this as a “third space” where transformation may occur, and it is this transformation of space and experience that I aim to explore in my work. In my practical component I present a body of unsanctioned public art interventions consisting of ceramic sculptures placed in urban liminal spaces in Johannesburg. I populate the chosen spaces with imaginative objects that playfully reflect my own cultural hybridity, and resultant liminal existence, in a post-colonial urban society. My practical work thus draws on analyses of the liminal aspects of Cohen and Kearney’s works as well as on aspects of my hybrid existence arising from my status as an immigrant in Johannesburg. Through my art works I attempt to engage with the local inhabitants without the restrictions of institutionalised arenas, allowing for a new experience of both the space and the artwork. Finally I record my own interventions in detail and compile an annotated photographic catalogue to document the sculptures in situ and the ephemeral life span of these unsanctioned public art interventions.

This Dissertation is submitted in partial compliance with the requirements for the Masters Degree in Technology: Fine Art, Technikon Natal, 1999.
In this research paper I will examine the Durban based 'alternative/informal' art space, the FLAT Gallery, which operated from October 1993 to January 1995. I will begin by first defining what is meant by an 'alternative space' and by looking at the historical development of such spaces both in South Africa and the United States of America. This will include an investigation into the ideological motivations and socio-political influences behind such spaces, as well as an exploration of what is meant by 'alternative practice', which I will show as being inseparable from the mission of the 'alternative space.' This will by no means be a comprehensive survey of alternative spaces in South Africa or the United States, but rather a tracing of the phenomenon with relevant examples. Here, I will explore the similarities that existed between the FLAT and other contemporary artist initiatives in South Africa and the United States, drawing comparisons between the FLAT and other similar venues. I will examine the particular circumstances that catalyzed the FLAT Gallery in the specific cultural and historical context of Durban, South Africa in 1993 and 1994. I will then construct a chronological documentation of the FLAT Gallery' s programme including interviews and extensive visual and audio archives. With this archival information and with detailed descriptions of each event, exhibition or performance, I will create a comprehensive record of the FLAT Gallery's activities. This will include an investigation into the historical influences, with specific examples of linkages to other artist-motivated projects in the past. In this way, I will both identify important precedents for many of the FLAT projects. I will conclude with those 'FLAT activities' that continued beyond the operation of the 'alternative/informal' space. It is my intention to create a document that not only offers a comprehensive study of the FLAT Gallery's programme, but also offers students, recent graduates and emerging artists useful practical information. This document is an affirmation of the possibilities for working and exhibiting once one has left the 'comforts' of faculty guidance, peer support, studio facilities and venues for showing work that the institutional environment provides. My claim is that there rests in the artist the responsibility to actively build a place where his/her development as a creative individual can flourish; that one must not wait for 'permission' or for 'someone' to offer validation of one's work. With this document I intend to demonstrate that it is indeed possible here in Durban to do Something!.
M

The aim of this dissertation is to contextualise the use of porcelain by the South African ceramist Thelma Marcuson (1919-2009). This paper focuses on her ceramics in the Tatham Art Gallery’s Permanent Collection in Pietermaritzburg. I hope to give recognition to Marcuson as she is considered one of the pioneer South African studio potters by Garth Clark and Lynne Wagner’s in Potters of Southern Africa as she is ranked amongst the top fifteen in that distinct group (appendix 4: Potters’ art demo). This dissertation is divided into three chapters. Chapter one primarily focuses on the influence of contemporary European studio potters on Marcuson’s work, in particular that of Lucie Rie, Mary Rogers and Ruth Duckworth. This chapter also examines the development of ceramics from industrial ceramics, involving mass productions in factories, to the modernist revival of studio ceramics by Bernard Leach, where each piece was handmade and often regarded as an art form, as in the work of the twentieth century British ceramist William Staite-Murray. Chapter two focuses on Marcuson and South African studio ceramics and considers South African potters who had an influence on Marcuson’s early training, and also looks at her involvement with the Association of Potters of Southern Africa (APSA) founded in 1972. In the last section of this chapter I will discuss ceramic practices and technical issues about porcelain and high-firing glazes, specifying how they are made and used, with particular reference to South African developments and local studio potters. As Marcuson was particularly interested in porcelain, this chapter also outlines glaze applications with specific reference to porcelain and firing methods. Chapter three focuses on Marcuson’s ceramics and offers in particular an analysis of the nine pieces of her work in the Permanent Collection of the Tatham Art Gallery in Pietermaritzburg. Through my research I was able to acquire photographic documentation from other South African museums for comparative purposes, such as the Durban Art Gallery and the William Humphreys Art Gallery in Kimberley, as well as some private collections (see appendix 1).
Thesis (M.A)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

Thesis (MTech. degree in Architecture (Applied Design)--Tshwane University of Technology, 2012.
The aim of this thesis is to design an adaptive reuse, collaborative creative centre and public art gallery that is governed by a cultural institute, and financed by a corporate collaboration between the Johannesburg Development Agency and the Blue IQ. The design is intended to act as a catalyst to the city of Johannesburg and the Newtown cultural precinct, by injecting life and spirit back into the area, offering Newtown an opportunity to be in a constant state of activity and vibrancy, living up to its goal to be the cultural district of Johannesburg.

This document is submitted in partial fulfilment for the degree: Master of Architecture (Professional) at the University of the Witwatersrand, Johannesburg, South Africa, in the year 2014.
This thesis explores theories of escapism and applies them to the Johannesburg precinct in the form of a socially interactive public space. Our day to day banal realities do not satisfy our innermost desires, as a result; we choose to disconnect from our realties. We often become passive consumers in a world dominated by production, fuelled by retail advertising and marketing media, and in turn we frequently overlook the shaping of our own social existence and choosing healthy forms of flight. I feel that our city does not provide opportunities for escape in the form of urban rituals and therefore a sense of belonging is inadequately specified. I aim to provide a positive form of escape which supports urban rituals, and thereby define a place within Johannesburg. A public space enables social interaction and individual exploration and is therefore a temporary from of escape. Our city is often perceived as dangerous and unaccommodating, but there is vast opportunity within the precinct due to the many existing connections and vibrant pedestrian life. My chosen site is an existing heritage building and the active node, Gandhi Square, currently existing divided by a sprawl of busses through which pedestrians are forced to navigate through. Through the redesign of this space, I intend to encourage a pedestrian dominant city, and a civic space that enhances public life and further facilitates urban renewal. My intervention involves 3 elements; an outdoor theatre, the redesign of the Metro Bus facility and a public space to promote a harmonious transition zone between the two. The contemporary theatre I am proposing forms space without physical walls, as light and sound evolve to stage events. The theatre functions within the reshaping of an existing heritage building located on site. It is a flexible space where intense sensory events can occur and carve the avenues into a socially interactive city. This engaging atmosphere caters for the collective as well as the everyday encounter, transforming to the needs of Johannesburg. My intervention will define a place where the celebration of community is lacking and in turn seek to change the perceptions of our city. Through the experience of the whole, my design facilitates chance interactions in which mystical moments can be manifested within a public space devoted to civic escape.

In 1979, the University of the Witwatersrand (Wits) and the Standard Bank Investment Corporation came together to form the Standard Bank Foundation Collection of African Tribal Art, the first public collection of its kind in South Africa, which fundamentally re-shaped public and institutional perceptions of black art in the country. Its collection and display, at first in the Gertrude Posel Gallery and then in the Wits Art Museum, formed a canon of African art that represented the artistic identities of a larger continent as well as those of South Africa’s majority black population. Together these formed an explicit political statement. This dissertation traces the evolution of the Standard Bank Collection, examining key developments at critical moments in South Africa’s political history. Divided into two parts that juxtapose the apartheid and post-apartheid periods, the first section begins with the founding of the Standard Bank Collection and its inaugural exhibition, African Tribal Sculpture held in 1979. In Chapter One, a case study considers how Wits placed black South African objects in dialogue with the canonical sculpture from West and Central Africa. Wits thereby authenticated black South African objects as art, both in South Africa itself and within the field of African art history, an action that undermined the apartheid system. Chapter Two offers a second case study that takes on the racially charged climate of late apartheid, situating Wits’ collecting practices in relationship to the collections and exhibitions of other art museums in the country. Wits curators employed and politicized the labels traditional art and transitional art in their classifications of South African objects at a critical juncture in the nation’s political transformation. Part two looks at the post-apartheid period in a single case study. Chapter Three examines the politics present in exhibitions featuring African art in the new Wits Art Museum that addressed themes relevant to popular urban culture – including style, fashion, and adornment – viewed as central to the presentation of post-apartheid black identities. By examining the types of objects Wits collected and the kinds of exhibitions it mounted, this dissertation illuminates how the art museum’s cultural authority represented and grappled with the changing racial politics of the nation.

A research report submitted in partial fulfilment of the requirements of the degree of Master of Arts in History of Arts, University of Witwatersrand, Johannesburg
In this research report I look at how the Goodman Gallery has played a role in the construction of cultural capital around the contemporary South African photographer Mikhael Subotzky (1981). Unpacking Pierre Bourdieu’s concept of “cultural capital” (1986: 243), and applying it to the South African art industry, I explore the direct impact that commercial galleries have on the building of artists’ careers through acts that result in the construction of cultural capital, and in what capacity they do this. Little has been written in South African art history about local commercial art galleries, and my interest in the role that they play in the construction of art history stems from my own involvement in this sector, as a commercial art gallery curator. As businesses, these institutions have profitable ambitions, and by successfully promoting the artists they represent, they are affecting the course of South African art history. Due to the potentially vast nature of this subject I have chosen to focus on one contemporary artist, Mikhael Subotzky, and his relationship with the one South African gallery he has been affiliated to throughout his entire professional career, the Goodman Gallery. As much as every person’s life is different, every person’s career is different too, and in this way I cannot use Subotzky’s career trajectory to explain all other contemporary South African artists’ careers, but I do believe that the impact that commercial galleries can have on the cultural capital surrounding artists in South Africa is a topic that should be explored further. I argue that there are various ways of gauging the cultural capital surrounding an artist in the South African art industry, and that one can look at various aspects of an artist’s career and assess their cultural capital. I substantiate this claim in this paper, and indeed why it is important to understand what role the commercial gallery can play in this construction

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts, 2015
This research explores the dialogical in arts pedagogy. This form of pedagogy is understood to allow for both the learner and educator to participate by exchanging experiences without the one being more superior to the other (Freire 1968, p. 169). In this thesis I use the Zulu term Inkulumo-Mpendulwano, which, rudimentarily, means dialogue. Broken down, Inkulumo means to talk or to have a conversation and Mpendulwano means to respond. However, I also use the term Ukufundisa, which means “to teach” but also “to instruct” and “to school” which is an authoritarian way of teaching. What is emphasised in this research is not only the potentiality of InkulumoMpendulwano interactions which can be adapted in the classroom as well as curated spaces, but by introducing different terminologies I attempt to reimagine the language and practices associated with arts education. This further engages with the possibility of changes in terminology and vocabularies, how the written and spoken is understood differently and how visual and spatial modes become central to changing the learner/teacher dynamic. This dissertation exemplifies two cases of the dialogical arts pedagogy. The first is a case study of Keleketla! Library and the second is a participatory action research approach where I work as an artist-educator for the practical component of this research entitled Artucation Programme. The outcome of this research is a written dissertation and a creative project that investigates InkulumoMpendulwano interactions in arts education.
XL2018

Text in English with abstracts in English, Sesotho, isiZulu and Afrikaans. Translated titles in Sesotho, isiZulu and Afrikaans
In the thesis, I critically examine the art acquisition policy of the Unisa Art Gallery (UAG) during and after apartheid in South Africa. The Unisa Art Gallery acquisition policy (UAGAP) is investigated against the transformation imperatives as informed by national policies on arts and culture. I take the view that the process of art acquisition does not exist outside of the sociopolitical discourse. Although the thesis is registered in the subject of Art History, the research adopts a multidisciplinary approach as it straddles the domains of visual art and cultural policy. Therefore, its focus on acquisition policy requires a combination of methodologies that can accommodate the intended research objectives. The study is based on the hypothesis that the collecting of art and acquisition policies are still untransformed from the Eurocentric paradigm of thought. I adopt Afrocentricity and decoloniality as theoretical frames of analysis. University museums are public cultural institutions, and the South African Constitution guarantees the right to culture. Therefore, the reluctance of public institutions to uphold the imperatives demonstrates a level of resistance to transformation. In the study, I investigate circumstances that influence the positive or negative way the UAGAP seemingly responds to the socio-economic and political imperatives of national policies in post-apartheid South Africa. Data analysis shows that there is no explicit relation between the White Paper on Arts, Culture and Heritage (WPACH) (DAC 1996) and the UAGAP. Another finding is that artworks collected in the past were mainly informed by epistemologies which were predominantly Eurocentric, whereby especially the black society has little or no say in the development of university museum policies. Lastly, the perception of arts practitioners is that the pace of transformation of university art collection policies is slow. The findings give rise to a recommendation that government should go beyond “the arms-length approach” (Deacon 2010) in the transformation of arts institutions, and intervene. Another recommendation is that unless the government White Papers are translated into law, they will continue to be ignored by public institutions.
Kule thesisi, ngiphenya ngendlela egxekayo ukutholakala komsebenzi wobuciko. Umgomo omayelana nokutholwa komsebenzi wobuciko kwisikhungo Sombukiso Wobuciko saseNyuvesi yaseNingizimu Africa (Unisa Art Gallery) ngesikhathi sombuso wengcindezelo nangemuva kwesikhathi sombuso wengcindezelo eNingizimu Africa. Umgomo omayelana nokutholakala kwemisebenzi yobuciko yesikhungo Sombukiso Wobuciko eNyuvesi yaseNingizimu Africa uphenywa kubhekwe kwezinto ezinhle ezilethwa yizinguquko njengoba lokhu kugunyazwa yimigomo yezwe kwezobuciko kanye namasiko. Ngithatha umbono othi uhlelo lwezokutholakala kobuciko alwenzeki ngaphandle kwemithelela yezenhlalakahle yabantu kwezepolitiki. Yize ithesisi ibhaliswe kwisifundo soMlando weZobuciko, ucwaningo lwamukela indlela equkethe izifundo eziningi njengoba le thesisi ifinyelela emikhakheni yomsebenzi wobuciko obukwayo kanye nakumgomo wosiko. Ngakho-ke, impokophelo yale thesisi kumgomo wokutholakala komsebenzi wobuciko ifuna inhlanganyela yezindlela zokuhlaziya ezingaxuba phakathi izinhloso zocwaningo eziqondiwe. Ucwaningo lususelwa kwihayiphothesisi/isihlambiselelo esithi imigomo emayelana nokuqoqwa kwemisebenzi yobuciko kanye nokutholakala kwemisebenzi yobuciko ayikaguquki kwizimpande zemibono yaseNtshonalanga/yaseYurophu. Ngamukela imibono egxile kubu-Afrika nemibono eqeda ubukoloni njengezinhlaka zemibono yokuhlaziya. Izikhungo zokugcina amagugu asenyuvesi zingamaziko wamasiko omphakathi, kanti uMthethosisekelo waseNingizimu Afrika unikeza ilungelo lokwenza usiko. Ngakho-ke, ukuba manqikanqika kwamaziko ombuso ukuphakamisa ubuhle bamasiko ngokuhlukahlukana kwawo njengokomgomo kukhombisa izinga lokunqaba ushintsho. Kulolu cwaningo, ngiphenya izimo ezinomthelela phezu kwendlela enhle noma embi uhlelo lwe-UAGAP elibonakala libheka ngayo nezindaba ezimayelana nenhlalakahle yabantu kwezomnotho nakwezepolitiki, ezindabeni zemigomo yezwe esikhathi sangemuva kombuso wengcindezelo eNingizimu Africa. Ukuhlaziywa kwedatha kukhombisa ukuthi abukho ubudlelwane obubonakalayo phakathi kwe-White Paper kwezoBuciko, ezamaSiko kanye nama-Gugu (WPACH) (DAC 1996) kanye nohlelo lwe-UAGAP. Okunye okutholakele ukuthi imisebenzi yobuciko eqoqwe esikhathini esedlule beyincike kakhulu kuma-ephistemoloji ebegxile kwingqubo yase-Yurophu/yaseNtshonalanga, kanti-ke, umphakathi ompisholo ikakhulu akukho nokuncane noma akukho ongakukhuluma mayelana nemigomo yokuthuthukiswa kwezikhungo zokugcina ubuciko bamagugu. Okokugcina, umqondo wabasebenzi kwezobuciko uthi izinhlelo zezinguquko zemigomo yokuqoqwa kwemisebenzi yobuciko emanyuvesi zihamba ngonyawo lonwabu. Ulwazi olutholakele kucwaningo luphakamisa isinqumo sokuthi uhulumeni kufanele asebenze ngomgomo owodwa “the arms-length approach” (Deacon 2010) kuhlelo lwezinguquko kumaziko obuciko, bese angenelele. Esinye isinqumo ukuthi ngaphandle kokuthi ama-White Paper kahulumeni ashicilelwe abe wumthetho, amaziko ombuso azoqhubeka nokuwashaya indiva.
Mo polelotheong eno, ke tlhatlhobile pholisi ya phitlhelelo ya botsweretshi ya Lefelo la Botsweretshi la Unisa (UAG) ka tsela ya tshekatsheko ka nako ya, le morago ga tlhaolele mo Aforikaborwa. Pholisi ya phitlhelelo ya Lefelo la Botsweretshi ya Unisa (UAGAP) e batlisisiwa e bapisitswe le ditlhokego tsa phetogo jaaka di kaelwa ke dipholisi tsa bosetšhaba tsa botsweretshi le setso. Ke akanya gore tirego ya phitlhelelo ya botsweretshi ga e diragale kwa ntle ga puisano ya politiki ya loago. Le fa e le gore polelotheo e kwadisitswe mo setlhogong sa Hisetori ya Botsweretshi, patlisiso e tsaya boitlhagiso jwa melebomentsi jaaka fa e paraletse mo mefameng ya botsweretshi jwa pono le pholisi ya setso. Ka jalo, go tota ga yona pholisi ya phitlhelelo go tlhoka motswako wa mekgwa e e ka amogelang maikemisetso a patlisiso a a lebeletsweng. Thutopatlisiso e ikaegile ka tshitshinyo ya gore dipholisi tsa kokoanyo le phitlhelelo ya botsweretshi di sa ntse di sa fetoga go tswa mo mogopolong wa setso sa Yuropa. Ke tsaya boikaego jwa Aforika le tloso ya bokoloniale jaaka letlhomeso la tiori la tokololo. Dimusiamo tsa diyunibesiti ke ditheo tsa setso tsa setšhaba, mme Molaotheo wa Aforikaborwa o sireletsa tshwanelo ya setso. Ka jalo, go belaela ga ditheo tsa setšhaba go tsweletsa ditlhokego go bontsha go kgaratlha kgatlhanong le diphetogo. Mo thutopatlisisong, ke batlisisa mabaka a a tlhotlheletsang mokgwa o o siameng gongwe o o sa siamang o go lebegang e kete UAGAP e tsibogela ka ona ditlhokego tsa ikonomiloago le sepolitiki tsa dipholisi tsa bosetšhaba tsa Aforikaborwa ya morago ga tlhaolele. Tokololo ya data e bontsha gore ga go na kgolagano e e tlhamaletseng magareng ga Pampiritshweu ya Botsweretshi, Setso le Ngwaoboswa (WPACH) (DAC 1996) le UAGAP. Phitlhelelo e nngwe ke ya gore ditiro tsa botsweretshi tse di kokoantsweng mo nakong e e fetileng di ne di ikaegile bogolosegolo ka diepisetemoloji tse di neng di na le phekeetso e kgolo ya setso sa Yuropa, moo tota setšhaba sa bantsho se nang le tshwaelo e e seng kalo gongwe se se na tshwaelo epe mo go tlhamiweng ga dipholisi tsa dimusiamo tsa diyunibesiti. Kwa bokhutlong, kakanyo ya badiragatsi ba botsweretshi ke gore kgato ya diphetogo ya dipholisi tsa kokoanyo ya botsweretshi jwa diyunibesiti e bonya. Diphitlhelelo di baka katlenegiso ya gore puso e tshwanetse go dira go feta “molebo o o sa gateleleng taolo gongwe tekanyetso” (Deacon 2010) mo diphetogong tsa ditheo tsa botsweretshi, mme e tsereganye. Katlenegiso e nngwe ke ya gore kwa ntle ga gore Dipampiritshweu tsa puso di fetolelwe go nna molao, ditheo tsa setšhaba di tlaa tswelela go di ikgatholosa.
In hierdie tesis ondersoek ek die kunsaankoopbeleid van die Unisa Kunsgalery (UKG) tydens en ná apartheid. Die kunsaankoopbeleid van die Unisa Kunsgalery (KABUKG) word volgens die nasionale transformasiebeleid oor kuns en kultuur beoordeel. Kunsaankope staan na my mening nie los van die sosiopolitieke diskoers nie. Ofskoon hierdie tesis onder die vak Kunsgeskiedenis ingeskryf is, word ʼn multidissiplinêre benadering gevolg aangesien die navorsing die terrein van die visuele kunste en dié van kultuurbeleid bestryk. Om die navorsingsdoelwitte te behaal, is ʼn kombinasie van metodologieë dus nodig. Die studie berus op die hipotese dat die versameling van kunswerke en die aankoopbeleid steeds Eurosentries gerig is en nie getransformeer het nie. Ek neem Afrosentrisiteit en dekolonialiteit as teoretiese ontledingsraamwerke. Universiteitsmuseums is openbare kultuurinstellings en die Suid-Afrikaanse Grondwet waarborg burgers die reg op kultuur. Openbare instellings se onwilligheid om die opdragte uit te voer, dui op ʼn weerstand teen transformasie. Ek verken die omstandighede wat bepaal hoe die KABUKG ná apartheid op die sosioëkonomiese en politieke opdragte reageer. Die dataontleding toon dat daar tussen die Witskrif oor Kuns, Kultuur en Erfenis (WKKE) (DAC 1996) en die KABUKG geen verband bestaan nie. Voorts is bevind dat kunswerke wat in die verlede aangekoop is, oorwegend Eurosentries was. Buitendien het swart mense tans weinig of geen seggenskap in universiteite se museumbeleide. Ten slotte is die tempo waarteen universiteite se aankoopbeleide transformeer volgens kunspraktisyns uiters traag. Daarom word op grond van die bevindings aanbeveel dat die regering sy armlengtebenadering (Deacon 2019) tot die transformasie van kunsinstellings laat vaar, en ingryp. As witskrifte nie wet gemaak word nie, sal openbare instellings aanhou om hulle te ignoreer.
Arts and Music
D. Phil. (Art)

The Rorke's Drift Art and Craft Centre is examined in its historical context. In order to place the pottery workshop in the context of the Evangelical Lutheran Church (ELC) Arts and Crafts Centre, the history of the centre's other workshops, Fabric printing and Weaving as well as the Fine Art School will be compared and contrasted. The pottery workshop is investigated and compared with the printmaking of Rorke's Drift. A selection of Rorke's Drift ceramics from the Durban Art Gallery's collection has been selected and examined to determine some of the stylistic changes that have occurred in the Rorke's Drift Pottery studio from 1970 to 1994. Fifteen works appear in an illustrated catalogue which examines the imagery and stylistic content of each work. The similarities between the prints of Rorke's Drift artists and the ceramics are explored; gender issues are analysed.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005

The Johannesburg Art Foundation (JAF), founded in 1982 by Bill Ainslie, maintained a teaching philosophy which opposed any form of discrimination and stressed that art education should be a possibility for everyone. There was no prescribed curriculum and the programme was not dependent on an external educational authority. I argue that particularly in the decade 1982-1992, the South African apartheid government's educational policy towards cultural activities was prescriptive, stifling and potentially paralysing for many artists. Nevertheless, the teaching at the JAF sustained a flexibility and tolerance of ideas combined with an emancipatory ambition that promoted exchange. The philosophy was infused with a social justice and a political activism agenda squarely in opposition to the separatist apartheid education laws. This study contextualizes the impact and efficacy of the teaching approach at the JAF in terms of its intellectual, social and political perspectives during the years 1982-1992. This teaching approach prompted acerbic encounters within the competing systems of formal and informal institutions. It is this controversial anomaly signifying elements of collision in the pursuit of developing modernism that are investigated to some extent. Personal involvement as an artist and teacher, during the period 1982-1992, allowed my contribution and participation in the development of the teaching philosophy. The paucity of available literature on the subject has stimulated a comprehensive preliminary investigation of the way in which the JAF cultivated alternative educational policies. The individual methodologies and personal experiences extracted from interviews with artists, Council Members and members of staff are documented in order to provide a detailed characterisation of the values of the JAF. In addition, original documentation representative of the genealogy of the JAF forms part of the curatorial practice for the exhibition Controversial ways of seeing at the Bag Factory Gallery. The JAF declined from 1992 and finally ceased to exist in 2001.

As with the majority of Johannesburg areas, the Newtown Electric Power Station Heritage Precinct does not fully realise its potential for spatial relations facilitating creative means of living. Creativity is a powerful tool to engage present and future possibilities. A Centre to stimulate creativity will benefit the direct area users, as well as contribute to the prominence of the historical and cultural richness of Newtown. The vacant site adjacent to the Sci-Bono Discovery Centre provides an apt location for the Creativity Centre as the intervening programme will activate, strengthen and define the presently underutilised street corner edges. The proposed architectural spaces aim to direct the site’s current movement routes created by pedestrian commuters, in order for creativity to become more ingrained in daily life. The proposed architectural elements aim to facilitate creative activities - both curatorial and organically inspired through community appropriation of specifically designed open, or adaptable, spaces. The Centre aims to become a creative community gathering hub: becoming integral to the existing creative individuals currently pursuing artistic practices in Newtown. Gesamtkunstwerk theoretically guides the project: in terms of the architectural intervention being comprised of singular elements all contributing to a greater whole. Gesamtkunstwerk also programmatically unites the entire Electric Power Station city block, through promoting the unification of art forms with life, as a holistic, creative entity. The Centre acts as a crucial beacon highlighting the importance of creativity in the contemporary South African situation where it is undervalued and underutilised. It also articulates that as a directorial element of societal authorisations and processes, architectural design should articulate the value of creativity through facilitating and inspiring creative modes of living.
Dissertation MArch(Prof)--University of Pretoria, 2014.
Architecture
MArch(Prof)
Unrestricted

M. Tech.
My research, in support of my cultural practice approaches the notion of masquerade from the position of battered women who employ it socially as a vehicle that allows them to perform the traditionalist ‘happily-ever-after’ fantasy of marriage. I propose that their ‘masquerade’ functions as a performance of what they perceive they should be in the public domain, and as a defence against punishment in the private domain. Central to my research are interviews with battered women who masquerade socially, from a select group who have been battered for most of their married lives. In a response to these interviews, I refer to the prevalence of battery in South Africa and propose a psychological rationale for social masquerade in these particular battered women. As the masquerade of these women informs my art production I have included a discussion of alternative expressions of masquerade in the work of two artists, Tracey Rose and Cindy Sherman. This forms a counterpoint to the use of masquerade as explained in my own cultural practice, which highlights the importance of dress as an adjunct to communication and disguise.

This research project investigates secondary schooling Visual Arts programmes and the extent pedagogical approaches encourage critical and closely integrated learning. The research involves a case study between two secondary schools in Johannesburg - a comparison of two grade ten Visual Arts learning programmes - by investigating the content taught and the pedagogical approaches employed. By evaluating the content of the learning programmes and pedagogical approaches, I investigate whether, or to what extent, the learning programmes challenge hegemonic ideologies and encourage a learning approach that does not perpetuate biased and stereotyped views of culture but learning that critically integrates diversity and difference in the classroom in a manner that is relevant and meaningful to the learner.

M.Tech. (Architectural Technology)
Alexandra's Far East Bank, formerly an apartheid buffer zone, is caught up in a reactive process by government to provide both housing and public transport. This process has resulted in a segregated relationship between the Marlboro Gautrain Station and the adjacent Reconstruction and Development Programme (RDP) housing scheme. The station is completely cut off from the immediate community by a perimeter fence with 24-hour security. This further entrenches the division between the Gautrain commuters and surrounding community. This forced physical relationship sets up an opportunity to design and create a space that aims to straddle the current socioeconomic gap. After on-site investigation and research, a This project would be the first catalytic response to the City of Johannesburg’s Regional Spatial Development Framework (RSDF) for Region E (CoJ 2009/10: 149). The

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other.
Psychology of Education
M. Ed. (Guidance and Counselling)

Spoken Word poetry in South Africa is understood as a genre of poetry which encompasses elements of textuality, musicality and performance, and is currently produced and frequented predominantly by a young, black public, according to Molebatsi and D’Abdon (2007). By means of ethnography, content analysis, and interviews with thirteen poets, this study demonstrates that the genre is used for expressing the life experiences of artists and their communities (Sole, 2008), as well as narrating social ills and concerns, including political, religious and other social experiences. In this sense, it is argued that Spoken Word may be termed as being a contemporary form of liberation politics (Judge, 1993) that is employed to serve a social function beyond directly political aims. This is made visible through the narratives, styles and identifications that distinguish members of this movement. This study provides a description of the scene in Pretoria and Johannesburg, drawing out various features of the movement. The social and political significance of the movement is presented by emphasising the poets’ perspectives on the Spoken Word movement, and engaging in a thematic content analysis of poems under the themes race and politics, gender and sexuality, and religion. International literature is engaged to demonstrate differences and similarities between South Africa’s Spoken Word scene and that of the USA by consulting works of scholars such as Weber (1999), Bruce & Davis (2000) and Hoffman (2001). It is demonstrated that similar to the genre in the USA, South African Spoken Word stresses performance to be an important distinguisher of this type of poetry. Also, in both contexts this art form has links to identity politics of previously marginalized groups. The study presents a similar finding to D’Abdon’s (2014) argument that the narratives presented in the post-apartheid Spoken Word movement greatly reflect Black Consciousness ideology, yet also importantly stresses that the movement also presents discontinuities with this discourse, allowing for a much broader array of narrative to permeate the performance poetry scene. This study makes an additional contribution to the existing literature through its key findings. Firstly, the study argues that although there has been a significant increase of women into the scene, Spoken Word remains a gendered space. Secondly, this study demonstrates that narratives produced by this movement contribute to experiences of community, but also play an exclusionary role to certain groups. Finally, the study illustrates that poets of the present day Spoken Word scene have begun a move towards commercialisation of the art form, subsequently also aiming for the valuation of African literature. In essence, it is argued that the present day Spoken Word poetry movement has great social and cultural value, and presents great potential of being a vehicle through which political and social consciousness can be both created and sustained. Key words: Spoken Word, poetry, South Africa, oral literature, slam, open mic, post-apartheid, literature, narratives, Black Consciousness, politics, social change, art, liberation poetry, liberation politics, culture, hip-hop, conscious art, resistant political art
Dissertation (MSocSci)--University of Pretoria, 2015.
Sociology
Unrestricted

(MPH, BSC Community Health) Date: 20th April 2016
Introduction South Africa (SA) has more than 6 million people infected with HIV, of whom 2.4 million have been initiated on Antiretroviral Treatment (ART). HIV positive non-pregnant women, and both women and men without tuberculosis and with a CD4 cell count of >500 cells/μl, were not eligible for ART initiation at the time of the study. These were transferred to a wellness (pre-ART) program for regular counselling and follow up. However, in SA, as in many other countries, previous data reported that there has been poor retention of HIV positive individuals prior to initiation on ART. This was particularly the case for youths and men. If people do not participate in a pre-ART program and are not regularly followed up, they often present for ART only when they are sick. Without an appropriate pre-ART program in PHC facilities, patients may end up delaying for ART initiation, leading to poor treatment outcome. Objective The objective of the study was to establish the existing gaps in pre-ART care service delivery and draw recommendations that would improve the quality of the delivery of pre-ART care and retain patients in care. Methodology This was a mixed method study conducted in the City of Johannesburg (CoJ). Both qualitative and quantitative data were collected through interviews, register and file audits and the District Health Information System (DHIS). A total of 2,018 participants were involved in this study through patient (73) and staff (12) interviews, an HCT register audit (1715), ART register and file audits (203), and consultative workshop with health services managers (15). In addition, we used records from DHIS data base for NIMART uptake before (6957) and after (13578) the NIMART roll-out in the CoJ. STATA version 12.0 was used to analyse quantitative data whilst qualitative data was analysed manually. Ethics approval was obtained from the University of the Witwatersrand Committee for Research on Human Subjects. Prior to each interview session, informed consent was obtained. Results The following pre-ART service delivery challenges were identified: long waiting times, multiple clinic visits, drug stock-outs, shortage of staff, unplanned disclosure of ones’ HIV+ status, poor staff attitudes to patients, length of time spent on documentation by service providers, and cost implications in accessing pre-ART care. Factors contributing to these challenges with potential solutions to overcome these were identified. The study also established that men (P=0.001) and youths (p=0.05) were less likely than their counterparts to collect their first CD4 cell count results. The majority of patients retained in pre-ART care did not access the available pre-ART care services and there was no difference in timely ART initiation between those who accessed pre-ART before ART initiation and those who did not – meaning that the current pre-ART care program was not working. However, being knowledgeable of the fact that an HIV+ person can lead a normal life through getting married and having an HIV- child was positively associated with retention in pre-ART care (p=0.001), i.e. attendance for 6 monthly monitoring. Rolling out NIMART into primary health care facilities in the CoJ significantly increased ART uptake, and reduced the workload in the referral facilities. Conclusion and recommendations Multiple interrelated pre-ART care service delivery challenges were identified in this study, consistent with other studies conducted in SA and elsewhere. This is a cause for concern as the provision of effective HIV services is compromised, leading to poor outcomes. In contrast, poor access and delayed ART initiation for patients retained in pre-ART care, established in this study, have not been reported previously. Therefore there is a need to improve access to quality pre-ART care services by those patients retained in pre-ART care. This can be attained by reducing pre-ART care access time through established innovations like Point of Care (POC) CD4 cell count collection and Central Chronic Medicines Dispensing and Distribution Programme (CCMDD), and addressing shortages of staff. In addition, raising patients’ awareness on available services, addressing poor staff attitudes, and strengthening linkages to pre-ART care after patients test HIV positive, would improve the uptake of pre-ART care especially among men and youths.
MT2016

Key words: William Hogarth Exhibition; Hogarth in Johannesburg (1987-1988) Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness Artists; Robert Hodgins Deborah Bell William Kentridge William Hogarth Caversham Press, KwaZulu-Natal, South Africa Printmaking Printmaking in South Africa Resistance art Narratology, narrative, discourse, story, plot, Transference of narratives Sequential art narrative and comics This dissertation considers the prints by South African artists, William Kentridge, Deborah Bell, and Robert Hodgins for the Hogarth in Johannesburg exhibition (1987) in the context of William Hogarth’s historical suites of prints referred to in the title of the exhibition, and contemporary theories about Sequential Art and Narrative. Produced for the artists at The Caversham Press of Malcolm Christian in KwaZulu-Natal, particular emphasis is placed on the images created by Deborah Bell, Robert Hodgins and William Kentridge (such as Industry and Idleness, Marriage-a-la-mode and A Rake’s Progress), and shown in their combined exhibition Hogarth in Johannesburg, in 1987.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

Research Report submitted to the School of Public Health University of the Witwatersrand in partial fulfillment of the requirements for the degree Master of Public Health September 2017
Background: Retaining people living with HIV in the continuum of care (CoC) is a major challenge internationally and in South Africa. However, health care providers can play a role in strengthening retention at different points in the continuum. Understanding the perceptions of health care providers regarding barriers to retention of HIV positive pre-antiretroviral therapy (pre-ART) clients can productively inform pre-ART patient retention programmes. Objective To explore health care worker perceptions on factors associated with retention of pre-ART clients at a clinic in the city of Johannesburg, South Africa. Methods: A cross sectional qualitative study was conducted using semi structured interview guides with a total of 11 health care providers who were comprised of the facility manager, six professional nurses and four lay counsellors in the ART programme. The respondents were purposively sampled. One-on-one interviews were conducted and audio recorded. Field notes were collected during the interviews and the recordings were transcribed after the interviews. Thematic content analysis was conducted using MaxQDA software. Results: The major finding of the research was that there is a lack of understanding of the scope and extent of pre-ART care and not all health care providers seem to get adequate preparation for tracing potential LTFU clients or retaining them in care. Informants in the study indicated as particularly problematic the late return for care by pre-ART clients, which usually occurs when clients are already very sick. Other factors that were identified as challenges include fear of disclosure, shortage of designated health care professional for pre-ART clients, lack of work space in the clinic, inadequate record keeping of patient information, concerns of disclosure and negative attitudes from staff. Clients not returning for their CD4 results, in part due to nonavailability of the results or infrequent health care visits, also led to a loss of care even before eligibility for pre-ART or ART could be determined. Conclusions: This study highlights some of the causes of non-engagement or loss to follow up (LTFU) in the HIV CoC among pre-ART individuals based on the health providers’ perceptions. The research thus provides an impetus for future research involving both health care providers and the pre-ART individuals to explore best practices that will enhance retention of pre-ART individuals in the continuum of care to attain optimal public health services.
MT 2018

M.Tech.
This study is based on the premise that awareness of active citizenship among South African citizens should be encouraged and can be developed through specific educational and skills interventions embedded in Visual Art learning programmes. South Africa‟s developing democracy requires active citizens with the capacity to disseminate values of equality, dignity, liberty and social justice, amongst other constitutional rights. Our country‟s history in the struggle for liberation encompasses a legacy of resistance, and screen-printed protest posters played an important role in communicating dissent towards the apartheid state (Seidmann 2009, Peffer 2009). My research examines the role of screen-printing as a particular graphic medium which is an organising tool to create awareness and communication. The project uses co-operative enquiry as a participatory action research method to facilitate the application of hand-made fine art screen-printed artworks and posters that support skills development, an understanding of self-identity and a sharing of skills that contribute to active citizenship. I present three visual art screen-printing projects that I facilitated from 2010 to 2011 at Artist Proof Studio (APS), an art centre in Johannesburg, whose mission is to inculcate aspects of active citizenship among the participating learners. I contend that the combination of all three screen-print projects presented to the group of students, leads to skills-development, awareness of personal identity and participation in community engagement projects which may enhance their ability to participate as active citizens and which in turn supports the mission statement of the education unit at APS. Such an intervention serves as a learning model that can further contribute to social, educational and economic redress among the participants at APS.