Mwadziitira
- Joseph Ngonyama Shumba (Performer), Composer not specified
- Authors: Joseph Ngonyama Shumba (Performer) , Composer not specified
- Subjects: Self delectative , Indigenous folk music , Mbira dza waNdau , Gogoyo , Sipungabera , Mozambique
- Type: Sound , Music
- Identifier: vital:15385 , MOA28-09 , http://hdl.handle.net/10962/d1017691 , MOA28
- Description: English translation of title: 'He did it himself' , Self delectative song by Joseph Ngonyama Shumba, accompanied by mbira dza waNdau (27 reeds, 3 manuals, bell-shaped body inside large resonator calabash) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Joseph Ngonyama Shumba (Performer) , Composer not specified
- Subjects: Self delectative , Indigenous folk music , Mbira dza waNdau , Gogoyo , Sipungabera , Mozambique
- Type: Sound , Music
- Identifier: vital:15385 , MOA28-09 , http://hdl.handle.net/10962/d1017691 , MOA28
- Description: English translation of title: 'He did it himself' , Self delectative song by Joseph Ngonyama Shumba, accompanied by mbira dza waNdau (27 reeds, 3 manuals, bell-shaped body inside large resonator calabash) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Mwadzi itira
- Joseph Ngonyama Shumba (Performer), Composer unknown
- Authors: Joseph Ngonyama Shumba (Performer) , Composer unknown
- Subjects: Self-delectative song , Indigenous folk music , Mbira dza waNdau , Complaint song , Chipungabera district , Mozambique
- Type: Sound , Music
- Identifier: vital:15224 , MOA16-02 , http://hdl.handle.net/10962/d1017477 , MOA16
- Description: An indigenous self-delectative song played on mbira dza waNdau , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Joseph Ngonyama Shumba (Performer) , Composer unknown
- Subjects: Self-delectative song , Indigenous folk music , Mbira dza waNdau , Complaint song , Chipungabera district , Mozambique
- Type: Sound , Music
- Identifier: vital:15224 , MOA16-02 , http://hdl.handle.net/10962/d1017477 , MOA16
- Description: An indigenous self-delectative song played on mbira dza waNdau , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Mwadzi itira (He has done it himself)
- Joseph Ngonyama Shumba, Hugh Tracey
- Authors: Joseph Ngonyama Shumba , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Fort Victoria, Southern Rhodesia f-rh
- Language: Shona, Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154322 , vital:39648 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR081-08
- Description: The player is an accomplished performer, he works for the Fort Victoria Municipality on the local roads with the grader. This song is in effect a complaint against those who do things without first asking permission, particularly a wife who does not first ask her husband's permission regarding family matters. Self delectative song with mbira dzawaNdau.
- Full Text: false
- Date Issued: 1958
- Authors: Joseph Ngonyama Shumba , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Fort Victoria, Southern Rhodesia f-rh
- Language: Shona, Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154322 , vital:39648 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR081-08
- Description: The player is an accomplished performer, he works for the Fort Victoria Municipality on the local roads with the grader. This song is in effect a complaint against those who do things without first asking permission, particularly a wife who does not first ask her husband's permission regarding family matters. Self delectative song with mbira dzawaNdau.
- Full Text: false
- Date Issued: 1958
Amasewe mukadzi wakanaka (The beauty)
- Joseph Ngonyama Shumba, Hugh Tracey
- Authors: Joseph Ngonyama Shumba , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Fort Victoria, Southern Rhodesia f-rh
- Language: Shona, Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154314 , vital:39646 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR081-07
- Description: The player is an accomplished performer, he works for the Fort Victoria Municipality on the local roads with the grader. This song is the best known and popular in the Sipangabera district of Portuguese East Africa. It is, they say the first of all songs in the region. The word 'Amasewe' means 'mother-in-law' and the gist of the song is that a certain young man went to a nearby village where he got himself a wife and his mother-in-law kept on remarking how handsome he was. Self delectative song with mbira dzawaNdau.
- Full Text: false
- Date Issued: 1958
- Authors: Joseph Ngonyama Shumba , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Fort Victoria, Southern Rhodesia f-rh
- Language: Shona, Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154314 , vital:39646 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR081-07
- Description: The player is an accomplished performer, he works for the Fort Victoria Municipality on the local roads with the grader. This song is the best known and popular in the Sipangabera district of Portuguese East Africa. It is, they say the first of all songs in the region. The word 'Amasewe' means 'mother-in-law' and the gist of the song is that a certain young man went to a nearby village where he got himself a wife and his mother-in-law kept on remarking how handsome he was. Self delectative song with mbira dzawaNdau.
- Full Text: false
- Date Issued: 1958
Amasewe mukadzi wakanaka (The beauty)
- Joseph Ngonyama Shumba, Hugh Tracey
- Authors: Joseph Ngonyama Shumba , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Fort Victoria, Southern Rhodesia f-rh
- Language: Shona, Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154309 , vital:39647 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR081-07
- Description: The player is an accomplished performer, he works for the Fort Victoria Municipality on the local roads with the grader. This song is the best known and popular in the Sipangabera district of Portuguese East Africa. It is, they say the first of all songs in the region. The word 'Amasewe' means 'mother-in-law' and the gist of the song is that a certain young man went to a nearby village where he got himself a wife and his mother-in-law kept on remarking how handsome he was. Self delectative song with mbira dzawaNdau.
- Full Text: false
- Date Issued: 1958
- Authors: Joseph Ngonyama Shumba , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Karanga (African people) , Folk songs, Shona , Folk music , Africa Zimbabwe Fort Victoria, Southern Rhodesia f-rh
- Language: Shona, Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154309 , vital:39647 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR081-07
- Description: The player is an accomplished performer, he works for the Fort Victoria Municipality on the local roads with the grader. This song is the best known and popular in the Sipangabera district of Portuguese East Africa. It is, they say the first of all songs in the region. The word 'Amasewe' means 'mother-in-law' and the gist of the song is that a certain young man went to a nearby village where he got himself a wife and his mother-in-law kept on remarking how handsome he was. Self delectative song with mbira dzawaNdau.
- Full Text: false
- Date Issued: 1958
Ihubo leNgonyama
- Composer not specified, Myeza, Asilida, Umqangala bow player, Zulu Folk, Dargie, Dave
- Authors: Composer not specified , Myeza, Asilida, Umqangala bow player , Zulu Folk , Dargie, Dave
- Date: 1982-03-23
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa South Africa KwaNongoma f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/268530 , vital:54206 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD037-10
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-03-23
- Authors: Composer not specified , Myeza, Asilida, Umqangala bow player , Zulu Folk , Dargie, Dave
- Date: 1982-03-23
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa South Africa KwaNongoma f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/268530 , vital:54206 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD037-10
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-03-23
Responses to Western education among the conservative people of Transkei
- Authors: Deliwe, Dumisani
- Date: 1993
- Subjects: Xhosa (African people) -- Attitudes , Xhosa (African people) -- Social life and customs , Black people -- Education -- South Africa , Xhosa (African people) -- Education -- South Africa -- Transkei
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2099 , http://hdl.handle.net/10962/d1002662 , Xhosa (African people) -- Attitudes , Xhosa (African people) -- Social life and customs , Black people -- Education -- South Africa , Xhosa (African people) -- Education -- South Africa -- Transkei
- Description: This thesis is concerned with the impact of Western education on the social life of the members of a Transkeian village. Various authors in the locally relevant literature, have for a long time commented that, due to Western education and Christianity, African societies became divided into 'school'people, who readily accepted Western education and culture, and 'red' people, who initially resisted these. Whilst the terms 'red' and 'school' became used as analytical constructs for the differing responses to Western culture, they were also used by African people. My findings at Qhude, Transkei, confirmed such a social division. I argue that this social division does not present an absolute distinction, but may best be conceived in terms of a continuum. Whilst the thesis considers interaction between the 'school' and the 'red' people of Qhude in various fields of life such as politics, law, religion (see Chapter Two) and education (see Chapter Six), the main emphasis is on the 'red' people. Thus, the thesis concerns itself, to a large degree, with an analysis of the 'red' people's experience and interpretation of Western education and Western educated people. The main argument is that the 'red' people's perception of Western education and Western educated people is ambiguous. That is, they see them in both positive and negative terms (see Chapter Five). This ambiguity is looked at here as a manifestation of the difficulties encountered by the 'red' people in adjusting to an institution (i.e Western education)that was initially foreign, and to which they were initially opposed. The perception of Western education as positive follows from the fact that it is seen as leading to economic empowerement by the 'red' people of Qhude, who are facing poverty, due to an economic decline (see Chapter Three). However, the economic contribution of the young (who are the ones receiving western education) and the knowledge they gather from school, threaten the authority of elders, as the young become increasingly independent from the elders. As a result of such independence, and other factors, Western education is seen in negative terms by the 'red' people. Such potential dangers of Western education are well recognised by the 'reds' of Qhude, and are dealt with culturally. That is, it is made clear to the young, in particular during occasions such as circumcision rituals, that education has to be made relevant to the building of the homestead, which is under the overlordship of parents whom the young are called upon to respect (see Chapter Six). In conclusion, it is argued that the use of culture in this way, shows how 'tradition' is employed to deal with crisis. Such use of culture necessitates a clarification of the opinion that uneducated Africans rejected Western education (see Chapter Seven).
- Full Text:
- Date Issued: 1993
- Authors: Deliwe, Dumisani
- Date: 1993
- Subjects: Xhosa (African people) -- Attitudes , Xhosa (African people) -- Social life and customs , Black people -- Education -- South Africa , Xhosa (African people) -- Education -- South Africa -- Transkei
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2099 , http://hdl.handle.net/10962/d1002662 , Xhosa (African people) -- Attitudes , Xhosa (African people) -- Social life and customs , Black people -- Education -- South Africa , Xhosa (African people) -- Education -- South Africa -- Transkei
- Description: This thesis is concerned with the impact of Western education on the social life of the members of a Transkeian village. Various authors in the locally relevant literature, have for a long time commented that, due to Western education and Christianity, African societies became divided into 'school'people, who readily accepted Western education and culture, and 'red' people, who initially resisted these. Whilst the terms 'red' and 'school' became used as analytical constructs for the differing responses to Western culture, they were also used by African people. My findings at Qhude, Transkei, confirmed such a social division. I argue that this social division does not present an absolute distinction, but may best be conceived in terms of a continuum. Whilst the thesis considers interaction between the 'school' and the 'red' people of Qhude in various fields of life such as politics, law, religion (see Chapter Two) and education (see Chapter Six), the main emphasis is on the 'red' people. Thus, the thesis concerns itself, to a large degree, with an analysis of the 'red' people's experience and interpretation of Western education and Western educated people. The main argument is that the 'red' people's perception of Western education and Western educated people is ambiguous. That is, they see them in both positive and negative terms (see Chapter Five). This ambiguity is looked at here as a manifestation of the difficulties encountered by the 'red' people in adjusting to an institution (i.e Western education)that was initially foreign, and to which they were initially opposed. The perception of Western education as positive follows from the fact that it is seen as leading to economic empowerement by the 'red' people of Qhude, who are facing poverty, due to an economic decline (see Chapter Three). However, the economic contribution of the young (who are the ones receiving western education) and the knowledge they gather from school, threaten the authority of elders, as the young become increasingly independent from the elders. As a result of such independence, and other factors, Western education is seen in negative terms by the 'red' people. Such potential dangers of Western education are well recognised by the 'reds' of Qhude, and are dealt with culturally. That is, it is made clear to the young, in particular during occasions such as circumcision rituals, that education has to be made relevant to the building of the homestead, which is under the overlordship of parents whom the young are called upon to respect (see Chapter Six). In conclusion, it is argued that the use of culture in this way, shows how 'tradition' is employed to deal with crisis. Such use of culture necessitates a clarification of the opinion that uneducated Africans rejected Western education (see Chapter Seven).
- Full Text:
- Date Issued: 1993
The Architecture of “Set and Setting” in Psychedelic Psychotherapy: The Design of a Mental Health Care Facility in Diepsloot, Johannesburg
- Authors: Mcilroy, Glen
- Date: 2020-09
- Subjects: Sustainable architecture -- Diepsloot -- Johannesburg , Mental health facilities -- Diepsloot -- Johannesburg
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/59084 , vital:60262
- Description: Diepsloot, Johannesburg, one of South Africa’s unique post-apartheid settlements, could be described as an island of poverty and strife amidst a sea of wealth and economic growth. The area, which began as a temporary settlement for displaced families in a time of radical change in the South African political landscape, was previously made up of large expanses of open space used for recreation, and is now an overcrowded settlement with major housing shortages and infrastructural insufficiencies. With some of the highest rates of violence against women in the world, Diepsloot shows a community rife with social issues, further exacerbated by substandard living conditions. This pervasive violence against women was shown to be perpetuated by men who have themselves been victims of violence in one form or another. With no known manner in which to seek assistance in dealing with their own traumas, perpetuate a cycle of violence through indeterminable generations. Undeniably a community in need of mental healthcare, Diepsloot currently has no facilities of this type, and little is known about the opportunity for seeking psychiatric assistance amongst members of the community. , Thesis (MA) -- Faculty of Engineering, the Built Environment, and Technology, 2020
- Full Text:
- Date Issued: 2020-09
- Authors: Mcilroy, Glen
- Date: 2020-09
- Subjects: Sustainable architecture -- Diepsloot -- Johannesburg , Mental health facilities -- Diepsloot -- Johannesburg
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/59084 , vital:60262
- Description: Diepsloot, Johannesburg, one of South Africa’s unique post-apartheid settlements, could be described as an island of poverty and strife amidst a sea of wealth and economic growth. The area, which began as a temporary settlement for displaced families in a time of radical change in the South African political landscape, was previously made up of large expanses of open space used for recreation, and is now an overcrowded settlement with major housing shortages and infrastructural insufficiencies. With some of the highest rates of violence against women in the world, Diepsloot shows a community rife with social issues, further exacerbated by substandard living conditions. This pervasive violence against women was shown to be perpetuated by men who have themselves been victims of violence in one form or another. With no known manner in which to seek assistance in dealing with their own traumas, perpetuate a cycle of violence through indeterminable generations. Undeniably a community in need of mental healthcare, Diepsloot currently has no facilities of this type, and little is known about the opportunity for seeking psychiatric assistance amongst members of the community. , Thesis (MA) -- Faculty of Engineering, the Built Environment, and Technology, 2020
- Full Text:
- Date Issued: 2020-09
Characterization and Electrocatalytic Activity of Nanocomposites Consisting of Nanosized Cobalt Tetraaminophenoxy Phthalocyanine, Multi‐walled Carbon Nanotubes and Gold Nanoparticles
- Shumba, Munyaradzi, Nyokong, Tebello
- Authors: Shumba, Munyaradzi , Nyokong, Tebello
- Date: 2016
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/188659 , vital:44773 , xlink:href="https://doi.org/10.1002/elan.201501058"
- Description: Glassy carbon electrodes were modified with composites containing cobalt tetraaminophenoxy phthalocyanine nanoparticles (CoTAPhPcNP), multi-walled carbon nanotubes (MWCNT) and gold nanorods (AuNRs). The modified electrodes were studied for their electrocatalytic behavior towards the reduction of hydrogen peroxide. Phthalocyanine nanoparticles significantly improved electron transfer kinetics as compared to phthalocyanines which are not in the nanoparticle form when alone or in the presence of multiwalled carbon nanotubes (MWCNTs). CoTAPhPcNP-MWCNT-GCE proved to be suitable for hydrogen peroxide detection with a catalytic rate constant of 3.45×103 M−1 s−1 and a detection limit of 1.61×10−7 M. Adsorption Gibbs free energy ΔGo was found to be −19.22 kJ mol−1 for CoTAPhPcNP-MWCNT-GCE.
- Full Text:
- Date Issued: 2016
- Authors: Shumba, Munyaradzi , Nyokong, Tebello
- Date: 2016
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/188659 , vital:44773 , xlink:href="https://doi.org/10.1002/elan.201501058"
- Description: Glassy carbon electrodes were modified with composites containing cobalt tetraaminophenoxy phthalocyanine nanoparticles (CoTAPhPcNP), multi-walled carbon nanotubes (MWCNT) and gold nanorods (AuNRs). The modified electrodes were studied for their electrocatalytic behavior towards the reduction of hydrogen peroxide. Phthalocyanine nanoparticles significantly improved electron transfer kinetics as compared to phthalocyanines which are not in the nanoparticle form when alone or in the presence of multiwalled carbon nanotubes (MWCNTs). CoTAPhPcNP-MWCNT-GCE proved to be suitable for hydrogen peroxide detection with a catalytic rate constant of 3.45×103 M−1 s−1 and a detection limit of 1.61×10−7 M. Adsorption Gibbs free energy ΔGo was found to be −19.22 kJ mol−1 for CoTAPhPcNP-MWCNT-GCE.
- Full Text:
- Date Issued: 2016
Queering boundaries: visual Activism and representations of sexuality in the work of contemporary South African artists
- Authors: Littleford, Lara
- Date: 2017
- Subjects: Homosexuality in art -- South Africa , Photographers, Black -- South Africa , Gay photographers -- South Africa , Lesbian photographers -- South Africa , Transgender people in art -- South Africa , Muholi, Zanele , Mlangeni, Sabelo
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/17816 , vital:22283
- Description: Zanele Muholi, a photographer and visual activist, and Sabelo Mlangeni, a photographer, explore the different ways of representing gender, particularly transgenderism, and sexuality, particularly homosexuality, in their photography. Muholi and Mlangeni document the daily lives and lived realities of people who are black and gay, lesbian, bisexual and transgender (LGBT) in South Africa. African sexuality remains a contested subject that is difficult to discuss in light of the controversies it provokes due to colonial attitudes toward African bodies. In this instance, colonial attitudes toward African sexuality have exoticised African bodies. Moreover, hyper-sexuality is ascribed to bodies that are black and male, whilst fetishising and objectifying black female bodies. Furthermore, representations of homoeroticism in Africa transgress and challenge dominant ideologies of sexuality and gender in an African context. In this sense, Muholi and Mlangeni directly address tension and resistance between individual and community. Such tensions are found within and between categories of African-ness, whereby homosexuality and transgenderism are regarded as being ‘un-African’ and an import from the West. For example, Muholi represents the existence of homosexuality and transgenderism in her photography in order to subvert the notion that homosexuality is ‘un-African’, attempting to complicate the conceptions of identity, gender and sexuality in South Africa. Muholi’s photography is used as a vehicle for her ‘visual activism’, which purports to create socio-political awareness surrounding homophobia, transgenderism, and epistemic injustice in South Africa. The visual imagery of these two artists investigates the boundaries that are set by various social, political and cultural constructs. These boundaries inform existing social, political and cultural attitudes toward homosexuality and transgenderism, and these homophobic and transphobic attitudes result in crimes committed against homosexual and transgender individuals, such as hate crimes, which includes ‘curative/corrective’ rape, the prevalence of which is rising at an alarming rate. Muholi’s photography and visual activism seek to create visibility in order to raise public awareness of hate crimes, victimisation, alienation and stigmatisation that homosexual and transgender South Africans, specifically those individuals living in township areas, face on a daily basis. These two artists represent sexuality as a site of contestation and, as such, heteronormative traditions, hegemonic social structures, and cultural conventions are transgressed and contested in their photography.
- Full Text:
- Date Issued: 2017
- Authors: Littleford, Lara
- Date: 2017
- Subjects: Homosexuality in art -- South Africa , Photographers, Black -- South Africa , Gay photographers -- South Africa , Lesbian photographers -- South Africa , Transgender people in art -- South Africa , Muholi, Zanele , Mlangeni, Sabelo
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/17816 , vital:22283
- Description: Zanele Muholi, a photographer and visual activist, and Sabelo Mlangeni, a photographer, explore the different ways of representing gender, particularly transgenderism, and sexuality, particularly homosexuality, in their photography. Muholi and Mlangeni document the daily lives and lived realities of people who are black and gay, lesbian, bisexual and transgender (LGBT) in South Africa. African sexuality remains a contested subject that is difficult to discuss in light of the controversies it provokes due to colonial attitudes toward African bodies. In this instance, colonial attitudes toward African sexuality have exoticised African bodies. Moreover, hyper-sexuality is ascribed to bodies that are black and male, whilst fetishising and objectifying black female bodies. Furthermore, representations of homoeroticism in Africa transgress and challenge dominant ideologies of sexuality and gender in an African context. In this sense, Muholi and Mlangeni directly address tension and resistance between individual and community. Such tensions are found within and between categories of African-ness, whereby homosexuality and transgenderism are regarded as being ‘un-African’ and an import from the West. For example, Muholi represents the existence of homosexuality and transgenderism in her photography in order to subvert the notion that homosexuality is ‘un-African’, attempting to complicate the conceptions of identity, gender and sexuality in South Africa. Muholi’s photography is used as a vehicle for her ‘visual activism’, which purports to create socio-political awareness surrounding homophobia, transgenderism, and epistemic injustice in South Africa. The visual imagery of these two artists investigates the boundaries that are set by various social, political and cultural constructs. These boundaries inform existing social, political and cultural attitudes toward homosexuality and transgenderism, and these homophobic and transphobic attitudes result in crimes committed against homosexual and transgender individuals, such as hate crimes, which includes ‘curative/corrective’ rape, the prevalence of which is rising at an alarming rate. Muholi’s photography and visual activism seek to create visibility in order to raise public awareness of hate crimes, victimisation, alienation and stigmatisation that homosexual and transgender South Africans, specifically those individuals living in township areas, face on a daily basis. These two artists represent sexuality as a site of contestation and, as such, heteronormative traditions, hegemonic social structures, and cultural conventions are transgressed and contested in their photography.
- Full Text:
- Date Issued: 2017
Four husbands for Ma Lindi: an exploration of the interaction between theatrical performance, gender, and sexuality in a South African urban context
- Authors: Vaughan, Clara
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/4610 , vital:20700
- Description: The thesis investigates the possibilities and limitations of theatre-making in providing a space for young people to collectively create, share, and interrogate understandings about sex, sexuality and gender. I use as a case study a theatremaking process I facilitated with a group of first year drama students at the Market Theatre Laboratory, in which we created a play called Four Husbands for Ma Lindi. The research analyses how this process interacted with the identities-in-becoming of the individual creators, and their engagement with the world, through a methodology that views them as experts on their own lives. There are three main arguments that I put forward in this thesis: the first is based on the experiences of healing, increased confidence and self-knowledge described by the participants as a result of sharing their personal stories in making the play. I argue that exploring autobiographical narratives through the aesthetic of theatre creates a group story that re-situates the narratives, the tellers and the witnesses in ways that can be productive for sexual and personal wellbeing, while also providing a counter-narrative that problematises the idea that sharing personal stories is always and necessarily a positive act. My second argument is that theatre-making, because it is an embodied performance pedagogy, is a constructive site in which to interrogate, deconstruct and subvert embedded gender norms and values, which are learnt and reiterated in the body. My third argument considers the relationship between theatre and change that is suggested by the findings of the research. In an analysis of the responses of the participants, I contend that theatre's potential for creating change in the socio-cultural domain lies in its ability to carve out spaces for improvisation, rather than to serve as a rehearsal for the real world. This is the position from which I then consider my ethics of practice and the role and responsibility of the facilitator in processes that view theatre-making as a critical performance pedagogy.
- Full Text:
- Date Issued: 2016
- Authors: Vaughan, Clara
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/4610 , vital:20700
- Description: The thesis investigates the possibilities and limitations of theatre-making in providing a space for young people to collectively create, share, and interrogate understandings about sex, sexuality and gender. I use as a case study a theatremaking process I facilitated with a group of first year drama students at the Market Theatre Laboratory, in which we created a play called Four Husbands for Ma Lindi. The research analyses how this process interacted with the identities-in-becoming of the individual creators, and their engagement with the world, through a methodology that views them as experts on their own lives. There are three main arguments that I put forward in this thesis: the first is based on the experiences of healing, increased confidence and self-knowledge described by the participants as a result of sharing their personal stories in making the play. I argue that exploring autobiographical narratives through the aesthetic of theatre creates a group story that re-situates the narratives, the tellers and the witnesses in ways that can be productive for sexual and personal wellbeing, while also providing a counter-narrative that problematises the idea that sharing personal stories is always and necessarily a positive act. My second argument is that theatre-making, because it is an embodied performance pedagogy, is a constructive site in which to interrogate, deconstruct and subvert embedded gender norms and values, which are learnt and reiterated in the body. My third argument considers the relationship between theatre and change that is suggested by the findings of the research. In an analysis of the responses of the participants, I contend that theatre's potential for creating change in the socio-cultural domain lies in its ability to carve out spaces for improvisation, rather than to serve as a rehearsal for the real world. This is the position from which I then consider my ethics of practice and the role and responsibility of the facilitator in processes that view theatre-making as a critical performance pedagogy.
- Full Text:
- Date Issued: 2016
Electrocatalytic activity of nanocomposites of sulphur doped graphene oxide and nanosized cobalt phthalocyanines
- Shumba, Munyaradzi, Nyokong, Tebello
- Authors: Shumba, Munyaradzi , Nyokong, Tebello
- Date: 2016
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/188530 , vital:44762 , xlink:href="https://doi.org/10.1002/elan.201600226"
- Description: In this work we explore the electrocatalytic activity of nanocomposites of reduced sulphur doped graphene oxide nanosheets (rSDGONS) and cobalt phthalocyanine (CoPc) or cobalt tetra amino phthalocyanine (CoTAPc) towards hydrogen peroxide. Transmission electron microscopy, scanning electron microscopy, X-ray photon spectroscopy, X-ray diffraction, chronoamperometry, linear scan voltammetry and cyclic voltammetry were used to characterize the nanocomposites. Nanosized CoPc showed superior (in terms of currents) electrocatalytic oxidation and reduction of hydrogen peroxide compared to CoTAPc nanoparticles (CoTAPcNP). The lowest detection limit was obtained for hydrogen peroxide oxidation on electrodes modified with CoPcNP-rSDGONS at 1.49 µM. The same electrode gave a high adsorption equilibrium constant of 1.27×103 mol−1 and a Gibbs free energy of −17.71 kJ/mol, indicative of a spontaneous reaction on the electrode surface.
- Full Text:
- Date Issued: 2016
- Authors: Shumba, Munyaradzi , Nyokong, Tebello
- Date: 2016
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/188530 , vital:44762 , xlink:href="https://doi.org/10.1002/elan.201600226"
- Description: In this work we explore the electrocatalytic activity of nanocomposites of reduced sulphur doped graphene oxide nanosheets (rSDGONS) and cobalt phthalocyanine (CoPc) or cobalt tetra amino phthalocyanine (CoTAPc) towards hydrogen peroxide. Transmission electron microscopy, scanning electron microscopy, X-ray photon spectroscopy, X-ray diffraction, chronoamperometry, linear scan voltammetry and cyclic voltammetry were used to characterize the nanocomposites. Nanosized CoPc showed superior (in terms of currents) electrocatalytic oxidation and reduction of hydrogen peroxide compared to CoTAPc nanoparticles (CoTAPcNP). The lowest detection limit was obtained for hydrogen peroxide oxidation on electrodes modified with CoPcNP-rSDGONS at 1.49 µM. The same electrode gave a high adsorption equilibrium constant of 1.27×103 mol−1 and a Gibbs free energy of −17.71 kJ/mol, indicative of a spontaneous reaction on the electrode surface.
- Full Text:
- Date Issued: 2016
Discursive psychological analysis on the construction and performance of identity through rights talk on social media related to #FeesMustFall
- Authors: Mashaba, Tumelo Thabo
- Date: 2019
- Subjects: Identity , Right to education , Human rights , Social media -- Political aspects -- South Africa , College students -- Political activity -- South Africa , College students -- Attitudes -- South Africa , College students, Black -- Psychology -- South Africa , College students, Black -- Attitudes -- South Africa , College students -- Psychology -- South Africa , Student protestors -- Attitudes -- South Africa , Student movements -- South Africa , Internet and activisim -- South Africa , Internet in political campaigns -- South Africa , Higher education and state -- South Africa
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/96668 , vital:31306
- Description: #FeesMustFall emerged at the end of 2015 after an announcement that tuitions would increase. The student protests occurred across higher education institutions within the country in which mass shutdowns were initiated, there was the presence of violence and the use of social media. The protests occurred in 2016 but experienced a shift in tone in terms of the violence present in the protests. The research sought to unpack how identity was constructed and performed through rights talk in regards to #FeesMustFall on social media. The methodology worked from a social constructionist perspective where the research consisted of a discursive psychological analytical approach to the texts presented. The discursive repertoires that were identified were: emotions repertoire; struggle repertoire; apartheid repertoire; racial repertoire; and rights repertoire. The subject positions revealed through the repertoires indicated that protesters and supporters constructed and performed their identity in particular ways. They were positioned as black; working class; victims who are enacting a sense of agency; denied their rights; have moral authority and are a parallel to the protesters under apartheid. The repertoire of struggle, racial and apartheid all link with each other. The rights repertoire is the foundation and the emotions repertoire is the tone of the student protests.
- Full Text:
- Date Issued: 2019
- Authors: Mashaba, Tumelo Thabo
- Date: 2019
- Subjects: Identity , Right to education , Human rights , Social media -- Political aspects -- South Africa , College students -- Political activity -- South Africa , College students -- Attitudes -- South Africa , College students, Black -- Psychology -- South Africa , College students, Black -- Attitudes -- South Africa , College students -- Psychology -- South Africa , Student protestors -- Attitudes -- South Africa , Student movements -- South Africa , Internet and activisim -- South Africa , Internet in political campaigns -- South Africa , Higher education and state -- South Africa
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/96668 , vital:31306
- Description: #FeesMustFall emerged at the end of 2015 after an announcement that tuitions would increase. The student protests occurred across higher education institutions within the country in which mass shutdowns were initiated, there was the presence of violence and the use of social media. The protests occurred in 2016 but experienced a shift in tone in terms of the violence present in the protests. The research sought to unpack how identity was constructed and performed through rights talk in regards to #FeesMustFall on social media. The methodology worked from a social constructionist perspective where the research consisted of a discursive psychological analytical approach to the texts presented. The discursive repertoires that were identified were: emotions repertoire; struggle repertoire; apartheid repertoire; racial repertoire; and rights repertoire. The subject positions revealed through the repertoires indicated that protesters and supporters constructed and performed their identity in particular ways. They were positioned as black; working class; victims who are enacting a sense of agency; denied their rights; have moral authority and are a parallel to the protesters under apartheid. The repertoire of struggle, racial and apartheid all link with each other. The rights repertoire is the foundation and the emotions repertoire is the tone of the student protests.
- Full Text:
- Date Issued: 2019
Imbumba yamaNyama
- Jabavu, Davidson D. T. (Davidson Don Tengo)
- Authors: Jabavu, Davidson D. T. (Davidson Don Tengo)
- Date: 1953
- Subjects: Ethnology South Africa , Xhosa (African people) History , Xhosa (African people) Social life and customs , South Africa Race relations 20th century
- Language: Xhosa
- Type: text , book
- Identifier: http://hdl.handle.net/10962/194970 , vital:45515 , (OCoLC)16446967 , Rhodes University Library, Cory Library for Humanities Research Africana 572.9687 JAB
- Description: 2nd ed , This book comprises Xhosa studies on (a) the subject of the Ntsikana celebrations that are annually observed in the Cape Province ; (b) the clan names of the Xhosa people ; (c) praise names associated with those clans ; (d) and an account of the Intlangwini tribes, found in South Africa. These studies have occupied me, off and on, upwards of thirty-five years of enquiry, and are here published for the first time with the aim of encouraging researchers to make further investigation on these and kindred topics largely neglected by the present generation. [abstract taken from explanatory note provided by the author].
- Full Text:
- Authors: Jabavu, Davidson D. T. (Davidson Don Tengo)
- Date: 1953
- Subjects: Ethnology South Africa , Xhosa (African people) History , Xhosa (African people) Social life and customs , South Africa Race relations 20th century
- Language: Xhosa
- Type: text , book
- Identifier: http://hdl.handle.net/10962/194970 , vital:45515 , (OCoLC)16446967 , Rhodes University Library, Cory Library for Humanities Research Africana 572.9687 JAB
- Description: 2nd ed , This book comprises Xhosa studies on (a) the subject of the Ntsikana celebrations that are annually observed in the Cape Province ; (b) the clan names of the Xhosa people ; (c) praise names associated with those clans ; (d) and an account of the Intlangwini tribes, found in South Africa. These studies have occupied me, off and on, upwards of thirty-five years of enquiry, and are here published for the first time with the aim of encouraging researchers to make further investigation on these and kindred topics largely neglected by the present generation. [abstract taken from explanatory note provided by the author].
- Full Text:
The influence of biophysical and socio-economic factors on the effectiveness of private land conservation areas in preventing natural land cover loss across South Africa
- Shumba, Tafadzwa, de Vos, Alta, Biggs, Reinette, Esler, Karen J, Clements, Hayley S
- Authors: Shumba, Tafadzwa , de Vos, Alta , Biggs, Reinette , Esler, Karen J , Clements, Hayley S
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/415940 , vital:71302 , xlink:href="https://doi.org/10.1016/j.gecco.2021.e01670"
- Description: There is increasing interest in the potential of private land conservation areas (PLCAs) as a complementary biodiversity conservation strategy to state-owned protected areas. However, there is limited understanding of how the diverse social-ecological contexts of PLCAs influence their effectiveness in conserving biodiversity. Here, we investigated how the effectiveness of South African PLCAs in conserving biodiversity varied across social-ecological contexts, using natural land cover as a proxy. Social-ecological contexts were represented by biophysical and legal factors (distance to towns and roads, elevation, slope, terrain ruggedness, rainfall, PLCA size, distance to state-owned national parks, and presence of legal protection) and, for a subset of commercially-operated PLCAs, management factors (adopted business model, and profitability).
- Full Text:
- Date Issued: 2021
- Authors: Shumba, Tafadzwa , de Vos, Alta , Biggs, Reinette , Esler, Karen J , Clements, Hayley S
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/415940 , vital:71302 , xlink:href="https://doi.org/10.1016/j.gecco.2021.e01670"
- Description: There is increasing interest in the potential of private land conservation areas (PLCAs) as a complementary biodiversity conservation strategy to state-owned protected areas. However, there is limited understanding of how the diverse social-ecological contexts of PLCAs influence their effectiveness in conserving biodiversity. Here, we investigated how the effectiveness of South African PLCAs in conserving biodiversity varied across social-ecological contexts, using natural land cover as a proxy. Social-ecological contexts were represented by biophysical and legal factors (distance to towns and roads, elevation, slope, terrain ruggedness, rainfall, PLCA size, distance to state-owned national parks, and presence of legal protection) and, for a subset of commercially-operated PLCAs, management factors (adopted business model, and profitability).
- Full Text:
- Date Issued: 2021
Effects of covalent versus non-covalent interactions on the electrocatalytic behavior of tetracarboxyphenoxyphthalocyanine in the presence of multi-walled carbon nanotubes
- Shumba, Munyaradzi S, Nyokong, Tebello
- Authors: Shumba, Munyaradzi S , Nyokong, Tebello
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/188271 , vital:44740 , xlink:href="https://doi.org/10.1080/00958972.2017.1303679"
- Description: Tetracarboxyphenoxy phthalocyanine was covalently linked to multi-walled carbon nanotubes and the conjugate was used for modification of glassy carbon electrodes for the detection of hydrogen peroxide. The electrocatalytic behavior was examined by cyclic voltammetry, square wave voltammetry, and rotating disk electrode. The results show that covalent linking is attractive in terms of high detecting currents, low overpotential, and high catalytic rate constants. Very low detection limits were observed with CoTCPhPc-DAMN-MWCNT(linked)-GCE at 0.33 nM. The resulting catalytic rate constant was 1.1 × 103 M−1s−1.
- Full Text:
- Date Issued: 2017
- Authors: Shumba, Munyaradzi S , Nyokong, Tebello
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/188271 , vital:44740 , xlink:href="https://doi.org/10.1080/00958972.2017.1303679"
- Description: Tetracarboxyphenoxy phthalocyanine was covalently linked to multi-walled carbon nanotubes and the conjugate was used for modification of glassy carbon electrodes for the detection of hydrogen peroxide. The electrocatalytic behavior was examined by cyclic voltammetry, square wave voltammetry, and rotating disk electrode. The results show that covalent linking is attractive in terms of high detecting currents, low overpotential, and high catalytic rate constants. Very low detection limits were observed with CoTCPhPc-DAMN-MWCNT(linked)-GCE at 0.33 nM. The resulting catalytic rate constant was 1.1 × 103 M−1s−1.
- Full Text:
- Date Issued: 2017
Mahombwere
- Shumba, Gwagwa, Wife of Gwawa Shumba, Composer not specified, Tracey, Hugh
- Authors: Shumba, Gwagwa , Wife of Gwawa Shumba , Composer not specified , Tracey, Hugh
- Date: 1949-10-15
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/279596 , vital:55518 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1271-XYZT4573
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-10-15
- Authors: Shumba, Gwagwa , Wife of Gwawa Shumba , Composer not specified , Tracey, Hugh
- Date: 1949-10-15
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/279596 , vital:55518 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1271-XYZT4573
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-10-15
Shumba
- Gwawa Shumba and 9 njari players, performer not specified, Composer not specified, Tracey, Hugh
- Authors: Gwawa Shumba and 9 njari players , performer not specified , Composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/394736 , vital:69005 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0886-C6Q5
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
- Authors: Gwawa Shumba and 9 njari players , performer not specified , Composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/394736 , vital:69005 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0886-C6Q5
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
Shumba
- Shumba, Gwagwa, Nine Njari Mbira players, Composer not specified, Tracey, Hugh
- Authors: Shumba, Gwagwa , Nine Njari Mbira players , Composer not specified , Tracey, Hugh
- Date: 1949-10-15
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/279587 , vital:55517 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1270-XYZT4572
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-10-15
- Authors: Shumba, Gwagwa , Nine Njari Mbira players , Composer not specified , Tracey, Hugh
- Date: 1949-10-15
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/279587 , vital:55517 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1270-XYZT4572
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-10-15
Shumba
- Shumba, Gwagwa, Nine Njari Mbira players, Composer not specified, Tracey, Hugh
- Authors: Shumba, Gwagwa , Nine Njari Mbira players , Composer not specified , Tracey, Hugh
- Date: 1949-10-15
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/279576 , vital:55516 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1269-XYZ4572.2
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-10-15
- Authors: Shumba, Gwagwa , Nine Njari Mbira players , Composer not specified , Tracey, Hugh
- Date: 1949-10-15
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/279576 , vital:55516 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1269-XYZ4572.2
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-10-15