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The Zimbabwe National Gender Policy (NGP) 2013–2017 and Women’s Economic Empowerment (WEE): a study of small-scale gold miners in the Bubi and Gwanda rural districts, Zimbabwe
Get PDFThe study examines the impact of Zimbabwe’s second National Gender Policy (NGP) 2013-2017 under the Ministry of Women’s Affairs, Gender and Community Development on women’s access to and control over productive resources in the artisanal and small-scale gold mining sector in Bubi and Gwanda rural districts of Zimbabwe. Despite the implementation of the NGP over the past fourteen years, its effect on the economic empowerment of women has not been investigated adequately. Women’s economic empowerment (WEE) is recognized as a crucial development strategy. However, it faces challenges related to the tensions between structure and agency. Some perceive WEE as an entrepreneurial concept focusing on equal access and control over productive resources like credit, equipment, skills, and business training. Others argue that WEE should encompass more than just resource access and control by addressing structural factors that hinder women’s agency e.g. unequal social relations between men and women, patriarchy, unpaid care work, and sociocultural norms. The study employed a hybrid lens, combining structure and agency to analyse the implementation of the NGP’s empowerment programs. Drawing on Kabeer’s (1994) Social Relations Approach (SRA), the study utilized two key concepts from the SRA, namely social relations and institutional analysis, to examine the interaction between the NGP and various institutions (market, community, and family) where women are located. To gain a comprehensive understanding of the ways in which the NGP has supported or impeded WEE among the female small-scale gold miners in Bubi and Gwanda, a qualitative approach was employed as an investigative method. The findings indicated that the NGP adopts a liberal or agency centred approach to WEE. This approach emphasizes women’s agency and their ability to fulfil their potential in the public sphere. The NGP has facilitated access to credit, equipment, skills, and business training. However, the evidence also highlighted the uneven implementation of the NGP’s empowerment programs between the Bubi and Gwanda districts. Overall, the evidence revealed that, while the NGP has addressed gender inequalities to a limited degree, it has also reinforced class inequalities. The NGP’s empowerment programs have overlooked the structural factors that keep women in subordinate positions, such as the unequal social relations that exist between men and women, patriarchy, unpaid care work and sociocultural norms.Thesis (PhD) -- Faculty of Humanities, Sociology, 202
Holding a mirror up to Academic Development through the HELTASA (un) conferencing methodology
Get PDFWe, Academic Development (AD) practitioners, question whether AD's objective in South Africa (SA) as a'liberatory educational and social movement'to enhance educational quality for all students, is effectively pursued. AD practitioners often work on the fringes of the academy, fighting for relevance and legitimacy within an increasingly performative and managerialist academic culture. Despite innovative AD initiatives AD work is criticised for being unresponsive, unreflexive, conformist, and lacking theoretical, scholarly, and critical engagement. We use critical pedagogical praxis, particularly the constructs of critique, reflexivity, power, and self-reflection, to interrogate the continuous tension between AD intention and practice. Through (un) conference methodology, this auto-ethnographic account of individual and collective engagements, using the" holding the mirror up" metaphor, critically questioned the tension and misalignments between the AD mandate and practices. Although in a SA higher education context, this research could be beneficial to HE contexts globally, given the ubiquity of AD work
Isipili somfana nomfazana
No full textThe mirror necklace features four long bead streams in white, navy, turquoise blue, and red, each adorned with pink pompoms. The metal tin with a mirror is embellished with a flat tab that showcases six diamond-shaped designs made with yellow, turquoise blue, and navy beads. The edges of the flat tab are trimmed with red beads. This mirror is worn by young men and women during Entlombeni dance.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Isidla somfana
No full textThe penis sheath is a traditional garment worn by young men, made from tanned goat skin and extending into a long tapering tail. It is often adorned with green and yellow colours, symbolising new life and fertility in the entlombeni tradition. It serves as a cultural emblem worn with pride by young men, signifying their transition into adulthood and connection to the natural world.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Ithumbu
No full textIthumbu is a distinctive wide-collar neckband traditionally adorned by young females. This particular neckband is characterized by its expansive breadth and intricate open beadwork design. The dominant colour palette utilised in creating Ithumbu includes primarily white, complemented by green and turquoise bands. These traditional colours reflect aesthetic preferences and the cultural significance attributed to this piece of adornment within the community.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Ubulunga
No full textA unique cloth charm necklace adorned with strips of fur from the tail of a heifer cow, known as "inkomo yobulunga" in the isiXhosa-speaking community, holds great cultural significance. In isiXhosa-speaking communities, it is customary for each homestead to possess an inkomo yobulunga for specific purposes. This particular necklace is traditionally worn by girls and women to promote good health. Additionally, boys wear this necklace during the ulwaluko initiation ritual, a significant rite of passage among isiXhosa-speaking communities.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Inkciyo yentombi
No full textThe girdle worn by a maiden is a remarkable testament to tradition and familial bonds, embodying both ornate beauty and profound symbolism. This exquisite garment features an intricately crafted apron adorned with a flat bead strip and three rows of delicate bead fringes, creating a mesmerising tapestry of colour and texture. Supported by two rows of brass washers threaded on goat skin thongs, each element of this girdle carries its own significance, echoing the wisdom and heritage of generations past. The tradition of passing down these brass washers from grandmother to favourite granddaughter, typically during puberty, adds a deeply personal touch to the garment, symbolising the continuation of familial legacy and the transmission of ancestral knowledge. As a young woman dons this girdle, she steps into her role within the community with grace and reverence, embracing the journey from adolescence to womanhood. Throughout her life, from the bloom of youth until the stage of menopause, the girdle remains a cherished symbol of her connection to her lineage and the enduring strength of familial ties.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Isiyambane segqirha
No full textThe headband is crafted from a pristine white fabric adorned with four exquisite pearl buttons. It features intricate navy chevrons and delicate diamond patterns, exuding an aura of mystique and elegance. Positioned at the forefront of the head, the band is complemented by long, graceful bead streamers that elegantly drape and frame the face. This ornate headpiece is traditionally worn by diviners, adding to its enigmatic and captivating allure.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Inkciyo yomntu omdala
No full textThe girdle is an aged accessory, featuring a flat bead strip and an apron adorned with three bead fringes, secured in place by three rows of brass washers threaded on leather thongs. Traditionally worn by a mature woman in her mid-fifties or older, this historic piece is crafted from leather and sinew and is distinguished by a sizable artillery button. Notably, it has recently undergone repairs using strips of goat or sheep skin.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Inkciyo yomtshakazi
No full textThis genital girdle, adorned with a single bead fringe delicately attached to an apron, finds its elegance in simplicity. Supported by four rows of shimmering white "AMASO" beads resembling pearls, this exquisite garment holds profound cultural significance as it adorns a bride on her special day. The choice of white AMASO beads adds a touch of purity and innocence and signifies the bride's transition into a new phase of life, symbolising hope, clarity, and new beginnings. As the bride wears this girdle, it becomes more than just an accessory; it becomes a sacred link between her and her cultural heritage, a tangible expression of tradition, and a testament to the love and commitment she shares with her partner. Paired with her bead band and blankets, the girdle completes the bride's ensemble, weaving elements of beauty and symbolism into a tapestry of matrimonial bliss. Thus, this genital girdle becomes a cherished heirloom, carrying within its beads the memories and blessings of generations past.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio