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Ten years ago Penna, the global HR services group, needed a radical business and culture re-invention if it was to survive. This article aims to tell the story behind…
Ten years ago Penna, the global HR services group, needed a radical business and culture re-invention if it was to survive. This article aims to tell the story behind Penna's journey and describe how a sustainable culture change intervention became the cornerstone of a successful business.
This case study is the result of an initial ethnographical research followed by concrete and systemic interventions.
The case study identifies four elements that sustained the business impact of a culture change program over a significant period of time.
This longitudinal case study follows a culture change program in an organizational context over a period of ten years.
This chapter is an overview of herstorical, political and theatrical developments in South Africa. It provides an overview of the background to the herstory of South…
This chapter is an overview of herstorical, political and theatrical developments in South Africa. It provides an overview of the background to the herstory of South Africa from 1912–1993.
Dates are included which have relevance to the herstory of South African Women; for example, 1912 was the year of the formation of the African National Congress (ANC); in 1913 Charlotte Maxeke led a march against pass laws for African women; the Native Land Act of 1913 stated that natives were no longer able to buy, sell or lease outside the stipulated reserves; the Influx Control and The Natives Urban Act of 1923 and amendments to the Act in 1937 had devastating consequences for African women as it severely restricted their movements from rural to urban areas. The year 1930 is important because this was when white South African women acquired the vote which gave political activists such as Helen Joseph and Helen Suzman a political voice. In 1948 the ANC Women’s League (ANCWL) was formed. Political events from the 1970s through to 1993, demonstrate how the Black Consciousness Movement (BCM), the African National Congress (ANC), other anti-apartheid organisations and the apartheid government realised the effectiveness of theatre as a political weapon
Glass House is a play about the relationship between two young women Phumla and Linda. According to Dike the play was specifically written to show the clashing of two…
Glass House is a play about the relationship between two young women Phumla and Linda. According to Dike the play was specifically written to show the clashing of two cultures and how white people could not understand the pain of black people. Glass House provides testimony as to how women suffered physical and mental violence whilst in detention, and this play clearly highlights how, for women, becoming part of the struggle meant surviving the acts of aggression and detention by the security forces. In Glass House Dike exposes the agony and survival techniques of women who have had to endure periods in detention desperately struggling to cope in adverse conditions and, on their release from detention, having to contend with the suspicions of their community thinking that they were informers spying for the government.
Following the landmark 2003 Ontario Court of Appeal decision legalizing same‐sex marriage, some same‐sex couples sought to formalize their unions through legal marriage…
Following the landmark 2003 Ontario Court of Appeal decision legalizing same‐sex marriage, some same‐sex couples sought to formalize their unions through legal marriage. The purpose of this paper is to explore the personal and political reflections of recently married same‐sex couples on the meaning of their marriages for themselves, their partners, their community as well as the implications for progressive social change in the broader social world.
An ethnographic approach was employed to semi‐structured in‐depth qualitative interviews with six lesbian and gay couples.
An emerging thesis is that, while seeking access to a most conventional and conformist institution, same‐sex couples inadvertently become “cutting edge” couples as they make public their declarations of love and commitment and model new and challenging notions of marriage.
The paper provides a snapshot of a small number of interviews that took place approximately 11 months after the Ontario Court of Appeal decision.
Law should take into account the importance of social and legal recognition of marriage for all. The heteronormativity of marriage is thus challenged from within, to make these types of marriages truly cutting edge.
The paper provides evidence of the personal and political reflections of people who had the choice to get married and did, at a time when this was seen as really cutting edge. Few personal accounts exist which provide a picture of the continued importance of marriage to human beings.
Zandile is an autobiographical play about Mlophe’s childhood. It begins with her living with her Gogo (her grandmother) in Durban and then being forcefully removed to live…
Zandile is an autobiographical play about Mlophe’s childhood. It begins with her living with her Gogo (her grandmother) in Durban and then being forcefully removed to live with her mother, Lulama, in the Transkei. The play focuses on Zandile and her development as she becomes an adult woman as well as her awareness of the tensions between traditional and Western expectations, political conflicts and social pressures. Zandile, Gogo (Zandile’s grandmother), Lulama (Zandile’s mother), Bongi (Zandile’s imaginary friend) and Lindiwe (Zandile’s friend) are women whose lives are directly and indirectly affected by the rules of the apartheid regime. The play skews the emphasis away from the oppression of African men and provides a space for the women to tell their personal stories of struggle, identity, harassment, dreams, expectations and journeys. Throughout the play the men are mentioned, but are not seen. Zandile provides the reader with an insight into the lives of three generations of African women, and the impact of the political situation on their disparate reactions highlight the conflicting interpretations of the African woman’s role in theatre, at home, as an activist, and the woman’s duty – to her husband, family and the struggle.
There are seven main characters of which five are women: Sindiswa, Mia, Susan, Thenjiwe and Nicky. The other two characters, Glen and Zaccaria, represent males from very…
There are seven main characters of which five are women: Sindiswa, Mia, Susan, Thenjiwe and Nicky. The other two characters, Glen and Zaccaria, represent males from very different socio-economic and political backgrounds. The character of Dumasani, a young boy, is referred to in the play. What makes the play especially significant is that of a cast of seven, five are women. Throughout the play the character of Glen, a spy for the apartheid government, reveals the manipulative and deceitful manner in which the members of the South African police force and political informers carried out their work. He forms relationships with people about whom he professes to care; however, his only concern is that they are able to provide information that will secure financial reward for his spying activities for the apartheid government. Born in the RSA offers the audience an interesting exchange of ideas and thoughts about the political, economic and social situation in apartheid South Africa. Through the exploration of narratives and improvisation a landscape of violence is thrown open. A landscape of violence, that is not only physical, but also psychological. The play presents a complex situation in which violence does not only come from one source but from various sources such as the government, the youth, the opposition parties, the comrades, the private domestic space, subversive activities and political organisations. Any opposition to government policies results in harsher and more extreme violence by the apartheid regime strengthening their oppressive forces.
The herstory of African women is one of sexualised forms of political violence which was used by the apartheid government to control women. African women were the ones who suffered the loss of sons, husbands, brothers and fathers, and who had to fend for themselves in the homelands or Bantustans. Ending women’s oppression was high on the agenda of the democratically elected government in 1994 and women’s groups lobbied consistently to ensure that gender equity was a priority. The violence in South Africa against women can be equated with a civil war on women’s bodies. There is saddening attitude of normalizing the violence committed against women and children. During the apartheid regime the dominant white group used violence to regulate the lives of African people and to remind them constantly of their subordinate status. This was not confined only to public and political spaces such as white and non-white signs on benches, beaches, shops and post offices but also penetrated private and domestic spaces. Black African men and women were subjected to conditions that perpetuated inequality, extreme disparities between the poor and the rich, violence in prisons and humiliating experiences of police harassment. Institutionalised racism led to feelings of inferiority and a lack of self-worth which contributed to acts to violence. The provision of a public space in which to voice women’s experiences of apartheid is essential as it is a contribution to a documentary record of the herstory of South Africa and to uncover the truth about the sacrifices that women have made. There is a crisis of violence against women – we need to seriously consider the dismantling of patriarchy. The concept of emancipation must involve societal transformation, women’s interests and gender interests in order to improve the status of women relative to that of men. The marginal role that women play in the occupational division of labour should be transformed to a central one. The struggle should now become a gender-conscious struggle for the new transformed South Africa.
The five play texts You Strike the Woman, You Strike the Rock (Phyllis Klotz, 1994), Glass House (Fatima Dike, 2002), Born in the RSA (Barney Simon, 1994), Has Anyone Seen Zandile? (Gcina Mhlophe, 1994), and So What’s New? (Fatima Dike, 1998) are introduced providing a brief insight into the strength of women as they struggle to make a living for their children in the face of extremely adverse political conditions, both in urban areas and in their households, as well as their suffering and grief for the loss of children caught up in the political struggle. Marginalised and struggling African women represented the most vulnerable members of the urban community. The reader is introduced to the voices within the play texts and how they represent both white and black South African women and how they on women’s lives from different backgrounds, classes and race thereby providing insight into their diversity of experiences and the censorial and penal repercussions women were forced to endure for contravening political Afrikaner ideology and statutory law.