Journal articles: 'Grahamstown'

1

Kitshoff, Herman. "Grahamstown National Arts Festival—Grahamstown, 1–10 July 2004." South African Theatre Journal 18, no. 1 (January 2004): 246–49. http://dx.doi.org/10.1080/10137548.2004.9687791.

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2

Sichel, Adrienne, Temple Hauptfleisch, Aart de Villiers, Temple Hauptfleisch, and Stephen Gray. "THE GRAHAMSTOWN FESTIVAL." South African Theatre Journal 1, no. 2 (January 1987): 82–97. http://dx.doi.org/10.1080/10137548.1987.9687605.

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3

Sichel, Adrienne. "THE GRAHAMSTOWN FESTIVAL." South African Theatre Journal 1, no. 1 (January 1987): 118–24. http://dx.doi.org/10.1080/10137548.1987.9687946.

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4

SICHEL, ADRIENNE. "THE GRAHAMSTOWN FESTIVAL." South African Theatre Journal 4, no. 2 (January 1990): 115–17. http://dx.doi.org/10.1080/10137548.1990.9688017.

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5

Shah, Vikas, Dave Turner, Pam O’Donoghue, Ashley Sneddon, Abigail Morrow, Anna Lundmark, Jordi Bates, Axel Hanson, Colin Hancock, and John Stanmore. "Monitoring Cyanobacteria in Grahamstown Dam." Water e-Journal 5, no. 4 (2021): 1–10. http://dx.doi.org/10.21139/wej.2020.028.

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Grahamstown Dam (capacity about 182,000 ML), Hunter Water’s largest dam, is a broad, relatively shallow, man-made, off-river storage that is primarily used to store water extracted from the Williams River. The Dam also receives runoff from its own small 73 km2 catchment area and direct rainfall on its 28 km2 surface area. The key components of the Grahamstown Dam supply scheme are Seaham Weir (limits the upstream movement of tidal saltwater), Balickera Canal and pumping station (transfer water from the Williams River to Grahamstown Dam), Campvale Pumping Station (pumps run off from the developing Medowie area located on the eastern margins of the Dam), George Schroder Pumping Station and delivery mains (delivers water from the Dam to water treatment plant), and Grahamstown Water Treatment Plant (WTP).

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6

Van Wyk Smith, M. "Seamus Heaney in Grahamstown." English in Africa 41, no. 1 (September 22, 2015): 9. http://dx.doi.org/10.4314/eia.v41i1.1.

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7

Sichel, Adrienne. "THE 1988 GRAHAMSTOWN FESTIVAL." South African Theatre Journal 2, no. 2 (January 1988): 89–104. http://dx.doi.org/10.1080/10137548.1988.9687620.

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8

Sichel, Adrienne. "THE 1989 GRAHAMSTOWN FESTIVAL." South African Theatre Journal 3, no. 2 (January 1989): 116–20. http://dx.doi.org/10.1080/10137548.1989.9687982.

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9

ARTHUR, THOMAS H., and MICHAEL D. ARTHUR. "THE 1992 GRAHAMSTOWN FESTIVAL." South African Theatre Journal 7, no. 1 (January 1993): 88–103. http://dx.doi.org/10.1080/10137548.1993.9688081.

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10

Arthur, Michael, and Tom Arthur. "THE 1994 GRAHAMSTOWN FESTIVAL." South African Theatre Journal 8, no. 2 (January 1994): 163–83. http://dx.doi.org/10.1080/10137548.1994.9688129.

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11

Wertheim, Albert. "The 1995 Grahamstown Festival." South African Theatre Journal 10, no. 1 (January 1996): 94–100. http://dx.doi.org/10.1080/10137548.1996.9687652.

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12

ROSS, ROBERT. "Grahamstown versus Cape Town." South African Historical Journal 36, no. 1 (May 1997): 277–83. http://dx.doi.org/10.1080/02582479708671281.

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13

SCHMIDT, BRYAN. "Fault Lines, Racial and Aesthetic: The National Arts Festival at Grahamstown." Theatre Research International 43, no. 3 (October 2018): 318–37. http://dx.doi.org/10.1017/s0307883318000561.

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This article asks how theatre shapes civic space by examining the emergence of racial divides in the city of Grahamstown, South Africa, during the annual National Arts Festival (NAF). I track how decision making by festival organizers has relied on economic research and implicit artistic preferences that have resulted in the steady exclusion of artists from local townships. I argue that the presence of the NAF in Grahamstown creates fault lines that are not physical, but aesthetic, in nature, creating invisible boundaries that reward stage performances at the expense of street performances. I track a history of street performance at the NAF, with particular attention to its local mime tradition, to demonstrate how this axis of festivity was integral to developing the NAF's cultural cachet, but was systematically managed, policed or appropriated to fit organizers’ image for Grahamstown at festival time. This work troubles aspirational narratives of creative and cultural industries that South Africa and other African countries have come to rely upon as inclusive and sustainable routes of economic development.

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14

GOUWS, JOHN. "BOOK AND TEXT STUDIES IN GRAHAMSTOWN." English Studies in Africa 47, no. 1 (January 2004): 119–24. http://dx.doi.org/10.1080/00138390408691018.

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15

Accone, Darryl. "THE 1991 GRAHAMSTOWN FESTIVAL: An Overview." South African Theatre Journal 5, no. 2 (January 1991): 92–103. http://dx.doi.org/10.1080/10137548.1991.9688049.

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16

Poole, L. M. G. "The Grahamstown all-sky meteor radar." Journal of Atmospheric and Terrestrial Physics 50, no. 6 (June 1988): 585–90. http://dx.doi.org/10.1016/0021-9169(88)90118-3.

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17

O’Halloran, Paddy. "Contested Space and Citizenship in Grahamstown, South Africa." Journal of Asian and African Studies 53, no. 1 (August 30, 2016): 20–33. http://dx.doi.org/10.1177/0021909616664920.

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This paper discusses two distinct political mobilisations of October 2015 in Grahamstown, Eastern Cape Province, South Africa. Student protests against racial, class-based, and gender-based oppression coincided with xenophobic violence in the city. These events demonstrated both challenges to and continuity with the long history of politics in Grahamstown, a history marked by the contestation and control of space, race, and citizenship. The paper argues for the continued relevance of these themes to thinking about contemporary South African politics. By considering together the two events of October 2015, we can interrogate aspects of colonial political continuities in post-1994 South Africa which variously influence mass protest action for democratic opening, anti-democratic violence, and state responses to both.

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18

Flockemann, Miki. "Translations, Affirmations, Inventions and Subversions: Grahamstown 2002." South African Theatre Journal 16, no. 1 (January 2002): 198–207. http://dx.doi.org/10.1080/10137548.2002.9687751.

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19

De Klerk, Willem. "Unity in Adversity: Reflections on the Clinical Movement in South Africa." International Journal of Clinical Legal Education 12 (July 18, 2014): 95. http://dx.doi.org/10.19164/ijcle.v12i0.72.

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Not long after I joined the Wits Law Clinic in January of 1997, I was seconded by our Director to attend a workshop hosted by Rhodes University Law Clinic in Grahamstown. The workshop was to be presented by the Association of University Legal Aid Institutions, or AULAI as it is commonly known. As a new recruit to our law clinic I barely knew of the existence of other university law clinics in South Africa, let alone a national association of law clinics. No-one at our clinic bothered to inform me what the workshop was all about, and I, being only concerned really with the adventure of travelling to a beautiful part of the Eastern Cape, never bothered to ask. So, I set off to Grahamstown in blissful ignorance of the events that were to follow, events that, as it turned out, shaped my involvement with law clinics in South Africa.

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20

Poole, L. M. G. "Meteor radiant distributions observed from Grahamstown, South Africa." Earth, Moon, and Planets 68, no. 1-3 (1995): 451–64. http://dx.doi.org/10.1007/bf00671539.

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21

Malinga, Sandile B., and L. M. G. Poole. "Atmospheric tides observed at Grahamstown (33.3 °S, 26.5 °E)." Journal of Atmospheric and Solar-Terrestrial Physics 59, no. 16 (November 1997): 2037–50. http://dx.doi.org/10.1016/s1364-6826(97)00044-8.

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22

Laws, Page. "South Africa through the Prism: Festival in Grahamstown, 1996." New Theatre Quarterly 12, no. 48 (November 1996): 390–93. http://dx.doi.org/10.1017/s0266464x00010587.

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23

Scott, Patricia E., and James Deetz. "Building, furnishings and social change in early Victorian Grahamstown." Social Dynamics 16, no. 1 (June 1990): 76–89. http://dx.doi.org/10.1080/02533959008458486.

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24

Pretorius, Louis, and Mareli Pretorius. "There and back again: National Arts Festival, Grahamstown 2006." South African Theatre Journal 20, no. 1 (January 2006): 263–69. http://dx.doi.org/10.1080/10137548.2006.9687838.

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25

Stathaki, Aktina. "A report on the 2007 Grahamstown National Arts festival." South African Theatre Journal 21, no. 1 (January 2007): 362–67. http://dx.doi.org/10.1080/10137548.2007.9687875.

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26

Kruger, Loren. "Letter from Grahamstown: The National Arts Festival at Forty." Theater 45, no. 2 (2015): 149–58. http://dx.doi.org/10.1215/01610775-2850097.

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27

Saayman, M., A. Saayman, and E. Slabbert. "Who spends and who does not: Clustering visitors at a national arts festival." South African Journal of Business Management 42, no. 1 (March 31, 2011): 9–16. http://dx.doi.org/10.4102/sajbm.v42i1.485.

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The Grahamstown National Arts Festival is the oldest National Arts Festival in South Africa and was founded in 1974. This celebration of the arts takes place over a period of eleven days with the main festival running over eight days, which also makes it the longest (in terms of number of days) arts festival in the country. The literature review revealed that high spenders at arts festivals are also the visitors who buy the most show tickets. The success of these events is determined by ticket sales and not necessarily by the number of visitors. Therefore, the purpose of this paper is to determine who the high spenders at the Grahamstown National Arts Festival are. Data obtained during the festival in 2008 by means of a questionnaire survey (N=446) was statistically analysed by means of K-means clustering, Pearson‟s chi-square test and ANOVAs. Results indicated two clusters, namely high and low spenders and can assist festival organisers in developing a more focused marketing strategy and festival programme. This was the first time that K-means clustering was applied to festival data in South Africa.

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28

Schoon, Alette. "Digital hustling: ICT practices of hip hop artists in Grahamstown." Technoetic Arts 12, no. 2 (December 1, 2014): 207–17. http://dx.doi.org/10.1386/tear.12.2-3.207_1.

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29

DAVIDSON, JIM. "Coping with Marginality:Tourism and the Projection of Grahamstown, 1870–1955." South African Historical Journal 42, no. 1 (May 2000): 176–90. http://dx.doi.org/10.1080/02582470008671373.

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30

Wylie, Dan. "Report: Literature and ecology colloquium, Rhodes University, Grahamstown, September 2004." Scrutiny2 10, no. 1 (January 2005): 97–99. http://dx.doi.org/10.1080/18125440508566034.

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31

Gray, Stephen. "Two talks and a reading-list: Winter School, Grahamstown, 1999." Scrutiny2 4, no. 2 (January 1999): 30–42. http://dx.doi.org/10.1080/18125449908565939.

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32

du Plessis, Rory. "Photographs from the Grahamstown Lunatic Asylum, South Africa, 1890–1907." Social Dynamics 40, no. 1 (January 2, 2014): 12–42. http://dx.doi.org/10.1080/02533952.2014.883784.

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33

Wirminghaus, J. O. "The diet of barn owls at a roost near Grahamstown." South African Journal of Zoology 24, no. 3 (January 1989): 232–34. http://dx.doi.org/10.1080/02541858.1989.11448158.

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34

Larlham, Peter. "Journey to Grahamstown: the 1995 Standard Bank National Arts Festival." South African Theatre Journal 9, no. 2 (January 1995): 103–16. http://dx.doi.org/10.1080/10137548.1995.9688164.

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35

Flockemann, Miki, Jerome Cornelius, and Jolyn Phillips. "Grahamstown 2012: theatres of belonging, longing and counting the bullets." South African Theatre Journal 26, no. 2 (July 2012): 218–26. http://dx.doi.org/10.1080/10137548.2012.838335.

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36

Jonker, E., and M. Saayman. "Socio-demographic analysis of Festival Entrepreneurs in South Africa." Southern African Journal of Entrepreneurship and Small Business Management 3, no. 1 (December 31, 2010): 1. http://dx.doi.org/10.4102/sajesbm.v3i1.19.

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The purpose of this article is to examine the socio-demographic differences between entrepreneurs at National Arts festivals in South Africa. Language, and specifically Afrikaans, English and African languages, was used as the dependent variable. The Klein Karoo National Arts Festival (KKNK) in Oudtshoorn and the Grahamstown National Arts Festival (GNAF) are the two largest arts festivals in South Africa. The research was conducted by means of a questionnaire survey (N=500). The data from KKNK and GNAF were combined and factor analyses were applied to determine the role and attributes of entrepreneurs. Cross-tabulation analyses were used to illustrate the comparison of language with socio-demographical variables (marital status, qualification, province, family business, personal attributes, business premises and resourcefulness) and the role and attributes of entrepreneurs. In addition, the association of language with independent variables was examined by means of one-way ANOVA for the three language groups. Findings suggest that there are significant differences in festival entrepreneurs from different cultures (languages), especially in terms of socio-demographic variables such as marital status, education, province, business and personal attributes (resourcefulness).Keywords and phrases: Klein Karoo National Arts Festival, Grahamstown National Arts Festival, festival entrepreneur, factor analysis, cross-tabulation analysis, ANOVA, entrepreneurs, language

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37

Duncan, Jane. "Mobile network society? Affordability and mobile phone usage in Grahamstown East." Communicatio 39, no. 1 (March 2013): 35–52. http://dx.doi.org/10.1080/02500167.2013.766224.

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38

Breitinger, Eckhard. "Farewell to the old Standard Bank National Arts Festival in Grahamstown?" South African Theatre Journal 15, no. 1 (January 2001): 178–91. http://dx.doi.org/10.1080/10137548.2001.9687732.

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39

Meadows, M. E., and F. E. Dewey. "The Relationship Between Soils and Vegetation, Beggar’s Bush Forest Reserve, Grahamstown." South African Geographical Journal 68, no. 2 (September 1986): 144–53. http://dx.doi.org/10.1080/03736245.1986.10559730.

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40

McKinnell, Lee-Anne, Ben Opperman, and Pierre J. Cilliers. "GPS TEC and ionosonde TEC over Grahamstown, South Africa: First comparisons." Advances in Space Research 39, no. 5 (2007): 816–20. http://dx.doi.org/10.1016/j.asr.2006.10.018.

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41

Okeyo, Ida, and Ros Dowse. "Community care worker perceptions of their roles in tuberculosis care and their information needs." Health SA Gesondheid 21 (October 11, 2016): 245–52. http://dx.doi.org/10.4102/hsag.v21i0.962.

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Background: Community care workers (CCWs) inhabit a central role in the management of tuberculosis (TB) patients in South Africa. CCWs attend training courses, but training is not standardised at either the national or provincial level.Objective: To explore perceptions of CCWs of their role in TB care and TB information needs.Methods: CCWs working with TB patients were recruited from Grahamstown Hospice and local primary healthcare clinics in Grahamstown. Focus group discussions and semistructured interviews were conducted with 14 CCWs using a question guide. Data were thematically analysed.Results: Three themes emerged from data analysis. Firstly, altruism was identified as the major motivational factor, with a desire to help others often stimulated by previously caring for sick relatives. Some CCWs had experienced being patients needing care, which motivated them to become involved in offering patient care. Secondly, CCWs reported great fulfilment and pride in their work as they believed they made a meaningful impact on patients' lives and in the surrounding community, and were respected for this contribution. Thirdly, most identified a need for further training and access to additional information about TB, particularly MDR- and XDR-TB, in order to reinforce both their own knowledge and to educate patients about drug-resistant TB.Conclusion: CCWs were motivated and proud of their contribution to TB patient management and the education they provided to patients and to lay community members.Ongoing training was identified as a need, along with access to quality information materials to improve their knowledge and facilitate patient counselling.

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42

Finn, Stephen M. "English in Africa? English in Africa Conference, 11-14 September 1995, Grahamstown." Scrutiny2 1, no. 1-2 (January 1996): 108–11. http://dx.doi.org/10.1080/18125449608565868.

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43

Keeton, G. R. "The Human Option conferences, Grahamstown February 4‐6,1985 Johannesburg March 6, 1985." Development Southern Africa 2, no. 2 (May 1985): 297–303. http://dx.doi.org/10.1080/03768358508439156.

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44

Bain, Keith. "Make Believe: Standard Bank National Arts Festival Grahamstown, 2–12 July 1998." South African Theatre Journal 12, no. 1-2 (January 1998): 137–64. http://dx.doi.org/10.1080/10137548.1998.9687669.

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45

Pietersen, Dudley. "Patterns of change; audience, attendance, and music at the 1994 Grahamstown festival." Contemporary Theatre Review 9, no. 2 (January 1999): 61–70. http://dx.doi.org/10.1080/10486809908568550.

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46

Bethke, Andrew-John. "An emerging local musical voice at Grahamstown Anglican Cathedral: experiments in localisation." Culture and Religion 19, no. 3 (July 2, 2018): 273–97. http://dx.doi.org/10.1080/14755610.2018.1489864.

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47

Southey, Nicholas. "Local government and african resistance in grahamstown during the first world war." Kleio 22, no. 1 (January 1990): 4–23. http://dx.doi.org/10.1080/00232089085310011.

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48

Jacobs, Linda, Allon W. V. Poole, and Lee-Anne McKinnell. "An analysis of automatically scaled F1 layer data over Grahamstown, South Africa." Advances in Space Research 34, no. 9 (2004): 1949–52. http://dx.doi.org/10.1016/j.asr.2004.06.009.

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49

Baiyegunhi, Christopher, and Kuiwu Liu. "Sedimentary facies, stratigraphy, and depositional environments of the Ecca Group, Karoo Supergroup in the Eastern Cape Province of South Africa." Open Geosciences 13, no. 1 (January 1, 2021): 748–81. http://dx.doi.org/10.1515/geo-2020-0256.

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Abstract The stratigraphy of the Ecca Group has been subdivided into the Prince Albert, Whitehill, Collingham, Ripon, and Fort Brown Formations in the Eastern Cape Province, South Africa. In this article, we present detailed stratigraphic and facies analyses of borehole data and road-cut exposures of the Ecca Group along regional roads R67 (Ecca Pass), R344 (Grahamstown-Adelaide), R350 (Kirkwood-Somerset East), and national roads N2 (Grahamstown-Peddie) and N10 (Paterson-Cookhouse). Facies analysis of the Ecca Group in the study area was performed to deduce their depositional environments. Based on the lithological and facies characteristics, the stratigraphy of the Prince Albert, Whitehill, Collingham, and Fort Brown Formations is now subdivided into two informal members each, while the Ripon Formation is subdivided into three members. A total of twelve lithofacies were identified in the Ecca Group and were further grouped into seven distinct facies associations (FAs), namely: Laminated to thin-bedded black-greyish shale and mudstones (FA 1); Laminated black-greyish shale and interbedded chert (FA 2); Mudstone rhythmite and thin beds of tuff alternation (FA 3); Thin to thick-bedded sandstone and mudstone intercalation (FA 4); Medium to thick-bedded dark-grey shale (FA 5); Alternated thin to medium-bedded sandstone and mudstone (FA 6); and Varved mudstone rhythmite and sandstone intercalation (FA 7). The FAs revealed gradually change of sea-level from deep marine (FA 1, FA 2, FA 3 and FA 4, FA 5, and FA 6) to prodelta environment (FA 7). This implies that the main Karoo Basin was gradually filling up with Ecca sediments, resulting in the gradual shallowing up of the water depth of the depositional basin.

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50

Wells, Julia C. "In the Shadow of the Butcher." Public Historian 36, no. 2 (May 1, 2014): 51–74. http://dx.doi.org/10.1525/tph.2014.36.2.51.

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The year-long commemoration of the bicentennial of Grahamstown, South Africa, exposed the wide gap between heritage practitioners, broadly defined, and much of the general public in confronting a troubled past. Although experts and a few community members enthusiastically promoted social healing through a variety of creative activities, much of the public retreated from participation. The nature of a full year of commemorative events is significantly different from many other forms of heritage work in South Africa today, because it engages the general public rather than a few select individuals. The Project revealed the still strong racial divide and self-concepts of many South Africans.

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Journal articles on the topic 'Grahamstown'

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