An evaluation of the application of specific conflict management mechanisms in the South African transition to democracy, 1985-2004 : a conflict resolution perspective
- Authors: Bradshaw, Gavin John
- Date: 2007
- Subjects: Conflict management -- South Africa , Mediation -- South Africa
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8160 , http://hdl.handle.net/10948/482 , Conflict management -- South Africa , Mediation -- South Africa
- Description: South Africa has always been cited as an example of protracted social conflict by the analytical conflict resolution school. Given that appellation, the conflict, in terms of the understanding of that school of thought, would not have been amenable to resolution, and yet many observers hail the South African democratic transition as a miracle of transformation. This thesis, using a detailed application of the various elements of protracted or deep-rooted social conflict, demonstrates that South Africa is indeed an example of protracted social conflict. Given the application of pre-negotiation initiatives, and the establishment of a unique National Peace Accord, negotiations were enabled, and successfully delivered a democratic election, and so far, also a sustainable democracy. The establishment of the Truth and Reconciliation Commission was the result of a realization on the part of a wide spectrum of South African leadership and conflict resolution professionals, that negotiation alone would not provide conflict resolution for South Africans, and that there was therefore an additional need to deal with the deeper issues of conflict, if the settlement were to prove sustainable. The question remains whether ours represents a successful resolution of the conflict from the theoretical perspective of the analytical conflict resolution school. A close examination of South African socio-political issues across a number of domains regarded by the analytical conflict resolution school as important, indicates that while the requirements for conflict resolution were indeed met in the South African case, their more advanced stage of resolution; conflict provention has not been satisfied. That explains the fact that many tensions, much violence and intolerance remain. South Africa’s democracy has not been infused with analytical conflict management institutions, basic human needs have not been substantially met and valued relationships remain elusive. Because protracted social conflict is cyclical, we can expect high-levels of conflict behaviour to haunt, and even threaten our fledgling democracy. It is argued here that a coherent theoretical approach to the South African conflict management process would have produced a more sustainable outcome, and we recommend the continued use and institutionalization of analytical conflict provention processes to secure the future of our country.
- Full Text:
- Date Issued: 2007
- Authors: Bradshaw, Gavin John
- Date: 2007
- Subjects: Conflict management -- South Africa , Mediation -- South Africa
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8160 , http://hdl.handle.net/10948/482 , Conflict management -- South Africa , Mediation -- South Africa
- Description: South Africa has always been cited as an example of protracted social conflict by the analytical conflict resolution school. Given that appellation, the conflict, in terms of the understanding of that school of thought, would not have been amenable to resolution, and yet many observers hail the South African democratic transition as a miracle of transformation. This thesis, using a detailed application of the various elements of protracted or deep-rooted social conflict, demonstrates that South Africa is indeed an example of protracted social conflict. Given the application of pre-negotiation initiatives, and the establishment of a unique National Peace Accord, negotiations were enabled, and successfully delivered a democratic election, and so far, also a sustainable democracy. The establishment of the Truth and Reconciliation Commission was the result of a realization on the part of a wide spectrum of South African leadership and conflict resolution professionals, that negotiation alone would not provide conflict resolution for South Africans, and that there was therefore an additional need to deal with the deeper issues of conflict, if the settlement were to prove sustainable. The question remains whether ours represents a successful resolution of the conflict from the theoretical perspective of the analytical conflict resolution school. A close examination of South African socio-political issues across a number of domains regarded by the analytical conflict resolution school as important, indicates that while the requirements for conflict resolution were indeed met in the South African case, their more advanced stage of resolution; conflict provention has not been satisfied. That explains the fact that many tensions, much violence and intolerance remain. South Africa’s democracy has not been infused with analytical conflict management institutions, basic human needs have not been substantially met and valued relationships remain elusive. Because protracted social conflict is cyclical, we can expect high-levels of conflict behaviour to haunt, and even threaten our fledgling democracy. It is argued here that a coherent theoretical approach to the South African conflict management process would have produced a more sustainable outcome, and we recommend the continued use and institutionalization of analytical conflict provention processes to secure the future of our country.
- Full Text:
- Date Issued: 2007
The origins, developments, and current performance practices of African neo-traditional choral music of Southern Africa
- Authors: De Beer, Rudolf
- Date: 2007
- Subjects: Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: vital:8514 , http://hdl.handle.net/10948/d1011781 , Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
- Description: This study deals with African neo-traditional choral music of sub-Saharan- and Southern Africa, with specific reference to extemporisation. The research focussed on the evolution of this music through an amalgamation of western choral music and African indigenous and traditional musical practices of sub- Saharan and Southern Africa. Specific reference to the syncretism of western music, which came to Africa through colonisation, and the way African indigenous musical traditions influenced it, is preceded by descriptions on African indigenous musical practices and western choral music traditions. The incorporation of traditional folk songs into African makwaya, or “choir music”, was inevitable. This development saw the birth of African neotraditional choral music as a formal part of many choirs’ programmes. A description of five sample choirs engaging with this music was followed by a case study on the Drakensberg Boys’ Choir. The way these choirs deal with different aspects regarding the preparation and performance of this music highlighted many parallels with African indigenous traditions. It also emphasises the important role of this music in choral performance, as well as choral education. As a genre in evolution, one aspect of this music, namely extemporisation, was studied in more detail in order to suggest another way of engaging with this music. Not only is choral extemporisation a possibility in African neo-traditional choral music of Southern Africa, but it is also a flourishing art form in Scandinavia. In Norway and Sweden it also utilises characteristics and techniques of folk music, which raised the status of this music to be a major art form. This notion prompted the suggested application of choral extemporisation to African neo-traditional choral music of Southern Africa. Even if any method of extemporisation may be utilised, it is proposed that characteristics of African sub- Saharan- and Southern African indigenous music be applied. This may result in the incorporation of more of these African indigenous elements in the neo-traditional choral music discussed than the current western harmonic emphasis. However, the suggestion is seen as a next step in the evolution of this music, which corresponds with international practices, and not to return to indigenous practices as such.
- Full Text:
- Date Issued: 2007
- Authors: De Beer, Rudolf
- Date: 2007
- Subjects: Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: vital:8514 , http://hdl.handle.net/10948/d1011781 , Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
- Description: This study deals with African neo-traditional choral music of sub-Saharan- and Southern Africa, with specific reference to extemporisation. The research focussed on the evolution of this music through an amalgamation of western choral music and African indigenous and traditional musical practices of sub- Saharan and Southern Africa. Specific reference to the syncretism of western music, which came to Africa through colonisation, and the way African indigenous musical traditions influenced it, is preceded by descriptions on African indigenous musical practices and western choral music traditions. The incorporation of traditional folk songs into African makwaya, or “choir music”, was inevitable. This development saw the birth of African neotraditional choral music as a formal part of many choirs’ programmes. A description of five sample choirs engaging with this music was followed by a case study on the Drakensberg Boys’ Choir. The way these choirs deal with different aspects regarding the preparation and performance of this music highlighted many parallels with African indigenous traditions. It also emphasises the important role of this music in choral performance, as well as choral education. As a genre in evolution, one aspect of this music, namely extemporisation, was studied in more detail in order to suggest another way of engaging with this music. Not only is choral extemporisation a possibility in African neo-traditional choral music of Southern Africa, but it is also a flourishing art form in Scandinavia. In Norway and Sweden it also utilises characteristics and techniques of folk music, which raised the status of this music to be a major art form. This notion prompted the suggested application of choral extemporisation to African neo-traditional choral music of Southern Africa. Even if any method of extemporisation may be utilised, it is proposed that characteristics of African sub- Saharan- and Southern African indigenous music be applied. This may result in the incorporation of more of these African indigenous elements in the neo-traditional choral music discussed than the current western harmonic emphasis. However, the suggestion is seen as a next step in the evolution of this music, which corresponds with international practices, and not to return to indigenous practices as such.
- Full Text:
- Date Issued: 2007
Towards a theory of choral conducting gestures
- Oosthuizen, Benjamin William
- Authors: Oosthuizen, Benjamin William
- Date: 2007
- Subjects: Choral conducting
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: vital:8505 , http://hdl.handle.net/10948/589 , Choral conducting
- Description: It is an oversimplification to look only at the manner in which a two-dimensional drawing suggests a three-dimensional movement in order to study choral conducting gestures. It must be recognised that there is a myriad of tacit aspects of knowledge surrounding conducting gestures. These aspects of tacit knowledge might be the reason why the teaching of conducting is done mostly in a continuous practicum, where the apprentice learns from the master, because in the practical situation the novice learns not only explicit knowledge, but also tacit knowledge. On the other hand, it is vital that the process of categorising and theorising about gestures continues in order to at least gain a better explicit knowledge of the process. In doing so, a theoretical knowledge base will strengthen the body of knowledge. This explicit knowledge should contain information with regard to the anatomy of the conductor, a basic understanding of a balanced posture, bilateral symmetry and vertical alignment, and a basic knowledge which will help to understand which main muscle groups are responsible for which basic movements involving gestures. The study of gestures from a theoretical point of view is barely more than five decades old. The demands which 20th and 21st century composers make on conductors question the traditional approaches of the functions of the hands. It has become essential for a conductor to develop greater skill of ambidexterity in order to cope with these demands. Despite the notion by some authors that choral conducting gestures employ standard gestures, it has been shown in this study that this is simply not the case. An overview of the work of authors in the field of conducting gestures was presented through a literature study. Concepts and their definitions have been selected and explained through the answering of research questions. Definitions of parameters and functionality of gestures were clarified to decide which gestures were the most appropriate in certain circumstances. This theory aims to be both descriptive and normative. It is descriptive in the sense that the concepts and issues and relationships around the characteristic aspects of gestures are indicated. It is normative in terms of the suggestions offered with regard to issues pertaining to gestures. This thesis sets out to contribute to the formulation of theoretical aspects of choral conducting gestures in an effort to codify and structure knowledge which is often stored in composers minds and experience, in an effort to pass down this knowledge to other apprentices in the field.
- Full Text:
- Date Issued: 2007
- Authors: Oosthuizen, Benjamin William
- Date: 2007
- Subjects: Choral conducting
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: vital:8505 , http://hdl.handle.net/10948/589 , Choral conducting
- Description: It is an oversimplification to look only at the manner in which a two-dimensional drawing suggests a three-dimensional movement in order to study choral conducting gestures. It must be recognised that there is a myriad of tacit aspects of knowledge surrounding conducting gestures. These aspects of tacit knowledge might be the reason why the teaching of conducting is done mostly in a continuous practicum, where the apprentice learns from the master, because in the practical situation the novice learns not only explicit knowledge, but also tacit knowledge. On the other hand, it is vital that the process of categorising and theorising about gestures continues in order to at least gain a better explicit knowledge of the process. In doing so, a theoretical knowledge base will strengthen the body of knowledge. This explicit knowledge should contain information with regard to the anatomy of the conductor, a basic understanding of a balanced posture, bilateral symmetry and vertical alignment, and a basic knowledge which will help to understand which main muscle groups are responsible for which basic movements involving gestures. The study of gestures from a theoretical point of view is barely more than five decades old. The demands which 20th and 21st century composers make on conductors question the traditional approaches of the functions of the hands. It has become essential for a conductor to develop greater skill of ambidexterity in order to cope with these demands. Despite the notion by some authors that choral conducting gestures employ standard gestures, it has been shown in this study that this is simply not the case. An overview of the work of authors in the field of conducting gestures was presented through a literature study. Concepts and their definitions have been selected and explained through the answering of research questions. Definitions of parameters and functionality of gestures were clarified to decide which gestures were the most appropriate in certain circumstances. This theory aims to be both descriptive and normative. It is descriptive in the sense that the concepts and issues and relationships around the characteristic aspects of gestures are indicated. It is normative in terms of the suggestions offered with regard to issues pertaining to gestures. This thesis sets out to contribute to the formulation of theoretical aspects of choral conducting gestures in an effort to codify and structure knowledge which is often stored in composers minds and experience, in an effort to pass down this knowledge to other apprentices in the field.
- Full Text:
- Date Issued: 2007
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