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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.

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

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 herstory of Black women in South Africa is one of sexualised forms of political, physical and psychological violence. A herstory of violence, oppression, exploitation, victimisation, imprisonment and police brutality. The apartheid government used violence to control women, their bodies, their religious and spiritual experiences. The feeling of disregard for African women is echoed in an interview with Mhlophe, a South African author, playwright and actress, when she talks about the Battle of Blood River and emphasises how there is no mention of women. ‘Did those men have no sisters, no mothers who helped them? Our history is very unbalanced’ (August, 1990, p. 332).

Globalization has brought about migration and the transnational movement of people from different backgrounds, cultures, ethnicities, using different languages, and has thereby facilitated intercultural interaction and re-interpretation of lived experiences. Gender research in accounting is also influenced by globalization, which has created a platform where different cultures can meet and interact, and where knowledge can be synthesized from the work of authors from various different countries. Building on my own research experiences and their outcomes, this study examines the globalization of gender research in accounting by tracing the development of research on the relationship between Japanese women and accounting. The experiences of Japan highlight that knowledge in accounting, including gender-in-accounting studies, historically flows from West to East. The language, concepts and framework in existing Western-led accounting studies translate and visualize the history and phenomena in a Japanese context to be shared within the international accounting arena.

This study demonstrates that this process provides a body of interesting evidence from Japanese contexts in the fields of history, household accounting and professionalization. Accounting played an enabling role for women in Japan, while positioning women to act as catalysts for social change. Questions arise regarding the potential for such findings (from the East) to flow to the West and be accorded equal status to Western-led accounting research. The study concludes by discussing, in terms of achieving sustainable and innovative knowledge creation in accounting, the importance of herstory in understanding local culture and its integration into ‘global’ academic research.

The play text, You Strike the Woman, You Strike the Rock, (Klotz, 1994) takes its title from a protest slogan ‘Wathint Abafazi’Wathint’. This slogan is associated with the Women’s Protest March in 1956, the largest mass gathering of women in South African herstory where women gathered to demonstrate peacefully against the imposition of pass laws on black South African women. The play recalls the story of the Women’s March and their courage as they fought against the imposition of the pass laws and is based on the lives of three women, Sdudla, Mampompo and Mambhele who sell chickens, vetkoek and oranges near a taxi rank in the squatter camp of Crossroads in Cape Town. Sdudla is the political activist who tries throughout the play to politicise both Mampompo and Mamphlele by making frequent references to the Women’s March and recalling the defiance and strength of the women who went on that March. What You Strike the Woman You Strike the Rock does is firstly to emphasise and explore the personal experiences, and perspectives of three women and, importantly, to represent a break from tradition, secondly to use consciousness-raising as a way for the women to talk about their experiences; to offer their testimony and, thirdly, to use the process as a bonding experience.

Saskatchewan school, special, public and academic libraries have created digital collections to serve their user communities better. The digital projects cover a wide range of topics from sports history to First Nations art and artifacts. While some of the projects are short‐term, other projects span a number of years and have a number of phases. The various digital collections and some of the challenges faced by the early digital project initiatives are described in this article.

Five years ago a friend whose business has the word “women” in its title began referring to me requests she received for information about a large area encompassing women's issues, herstory, Women Studies, feminism, nonsexist education, nontraditional employment, reentry persons, comparable worth, health, portrayal of women in literature, scientific developments by and affecting women, etc. They came from feminist and sexist people of all ages throughout the world. Most, however, were American women attempting to bridge the information gap and to counteract misinformation and lack of information about and affecting females. This eventually evolved into a non‐profit service through which I responded directly to inquiries.

This paper aims to make an assessment of the contribution made by accounting histories of women produced since 1992 and the current state of knowledge production in this subject area.

The study is based on a review of published sources on accounting history and women's, gender and feminist history.

Whereas feminist historians and historians of gender boast substantial advances in research and transformative impacts on the wider discipline of history, similar momentum is less evident in accounting history. It is argued that over the past 15 years scholarship has remained substantially in the “recovery” phase, has not “defamiliarized” the sub‐field and is yet to engage with developments in feminist and gender historiography which offer regenerative potential.

The paper argues that sex and gender differentiation persist in both the past and the present and their study should feature large on the accounting history research agenda.

Core themes in feminist and gender history are explored with a view to identifying research questions for accounting historians. These themes include the oppression and subordination of women, the public‐private divide, restoring women to history, devising new periodisations, investigating socio‐cultural relations, and the construction of identities.