Masters Degrees (History)

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Browsing Masters Degrees (History) by browse.metadata.advisor "Fransch, Chet"

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    All my companions are free, I alone am excepted : a socio-economic history of recaptured Africans at the Cape Colony in the age of reform, c. 1807-1834
    (Stellenbosch : Stellenbosch University, 2024-03) Crous, Benjamin Daniel; Fransch, Chet; Ekama, Kate; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of History.
    ENGLISH ABSTRACT: The study of the enslaved peoples ‘rescued’ from illegal slave ships and apprenticed in colonial locales in the aftermath of the Abolition Act of 1807 is of burgeoning scholarly interest. The lived experiences and governance of those subject to this scheme in the British Caribbean, Sierra Leone and more recently Brazil and Cuba have received increasing attention. The literature on ‘recaptured Africans’ or ‘prize negroes’ as they were known at the Cape Colony, by contrast has remained rather inert since the early twenty first century. This study is an attempt to redirect attention to the history of recaptives at the Cape Colony, focusing on the period of change ushered in by the 1820s. Using the underutilised records collected by the Commission of Eastern Inquiry, as well as new quantitative sources and methods, allow for new insights to be gleaned about the history of recaptives during this period. Forming part of a larger ‘experiment’ in free labour, the 1820s saw the end of the fourteen-year apprenticeships of recaptured Africans at the Cape. With the aim of ending chattel slavery, the metropolitan government sought to assess the state of their colonies and prepare their labour markets for the integration of free labourers. This resulted in the despatch of Royal Commissions of Inquiry, as well as the passing of various ameliorative legislation. This dissertation argues that the period of reform ushered in by the 1820s merits attention specifically because it resulted in a variety of power struggles leading to conflict between colonists, commissioners and recaptives. Indeed, these contestations were symptomatic of a larger struggle as each group sought to redefine their place within the shifting colonial boundaries of class and race. Analysing the testimonies of recaptives brought before the Commissioners of Inquiry allows for these struggles to be personalized and the lived experiences of these subaltern labourers to come to the fore during this tumultuous period in Cape history.
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    Being public : musicians and the Market Theatre Cafe, 1976 - 1980
    (Stellenbosch : Stellenbosch University, 2023-03) Ncume, Pakama Sbongile; Matshoba, Pakama Sbongile; Lambrechts, Lizabe; Fransch, Chet; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of History.
    ENGLISH SUMMARY : In 1976 the Market Theatre Complex was opened in Newton, Johannesburg by Barney Simon and Mannie Manim. Their vision was to establish a non-discriminatory and inclusive theatre that operated outside the legislated segregation policies of the apartheid system. One of the venues in the complex was a small music entertainment space called the Market Theatre Café. The Café which operated from 1976 to 1978 was run and managed by David Marks and his wife Frances Marks. Throughout its short existence, the venue offered a platform for local and international musicians, English, Afrikaans, Zulu, and Sepedi singers-songwriters, folk musicians, township jazz groups, rock and punk groups, and jazz musicians to perform. While the performances in the Market Theatre Complex are well documented, very little has been written about the Café and the music and musicians who performed there. Using primary sources, specifically live sound recordings made of the performances at the Café, preserved in the Hidden Years Music Archive at Stellenbosch University, this study will offer an analysis of the concerts staged in the Market Theatre Café. Through investigating the musicians, the music performed and lyrics of songs, as well as the conversations on stage between musicians and/or with the audience - as well as the music productions staged at the venue - this study will explore how such music performances enabled the coming together and the “being public” of a community that sanctioned a space for freedom of expression and political action during times when “publics” and “being public” were highly regulated.