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dc.contributor.advisorLuwes, N. J.
dc.contributor.authorVan Schalkwyk, Lodewika Johanna
dc.date.accessioned2018-09-20T09:23:16Z
dc.date.available2018-09-20T09:23:16Z
dc.date.issued2015-02
dc.identifier.urihttp://hdl.handle.net/11660/9329
dc.description.abstractEnglish: This study inquires about the drama activities at Kruik/CAPAB and Kuntekaap/Arts Cape over three periods. The background to the establishment of the Arts Council and info regarding the structure, finances and policy is shortly provided. In 1971 the Nico Malan Theatre was built and its functioning and artistic highlights are indicated. By 2001 the ACTAG-report led to the new arts policy in the White Paper (Arts, Culture and Heritage) in 1996. The impact and name change to Kunstekaap/Arts Cape on the functioning, the artists and the artistic programme, which became more commercialized, is investigated. According to the study, by 2011 there is a revival of activities and Kunstekaap/Arts Cape plays a major role in the arts life in Cape Town. The policy is fully established and better cooperation with other theatres, governing bodies and artist groups is established. The last chapter deals with the perceptions of artists regarding the functioning and policies. There is definite discontent about the issue that Kunstekaap/Arts Cape and other similar institutions do not appoint permanent artists as the quality of their lives and work security has been negatively influenced. They plead for a revisit to the National arts policy and a few suggestions are made.en_ZA
dc.description.abstractAfrikaans: In die studie word die drama-aktiwiteite by Kruik/CAPAB en Kunstekaap/Arts Cape in drie periodes ondersoek. Die agtergrond na die stigting van die Streeksrade kortliks geskets met inligting oor die struktuur, finansiering en beleid. In 1971 is die Nico Malanteater gebou en die funksionering en artistieke hoogtepunte in die jaar word uitgelig. Teen 2001 het die ACTAG-verslag gelei tot 'n nuwe kunstebeleid volgens die Witskrif (Kuns, Kultuur en Erfenis) 1996. Die impak van die nuwe beleid en naamsverandering na Kunstekaap/Arts Cape op die funksionering van die instelling, en die kunstenaars en artistieke program, wat meer gekommersialiseer geraak het, word ondersoek. Teen 2011 is daar volgens die ondersoek weer ʼn oplewing in aktiwiteite en Kunstekaap/Arts Cape speel ʼn besondere rol in die kunstelewe van Kaapstad. Die beleid is ten volle ingestel en beter samewerking met owerheidsinstansies en ander teaters en kunstenaarsgroepe word sterk gevestig. In die laaste hoofstuk kom die persepsies van kunstenaars oor die funksionering van die beleid ter sprake en opsigtelik is daar ontevredenheid onder kunstenaars spesifiek oor die feit dat Kunstekaap en ander soortgelyke instelling nie vaste geselskappe het nie en hul lewensgehalte en werksekerheid negatief beïnvloed is. ʼn Herbesoek aan die Nasionale kunstebeleid word versoek en enkele voorstelle word gemaak.en_ZA
dc.language.isoafen_ZA
dc.publisherUniversity of the Free Stateen_ZA
dc.subjectArts, South Africaen_ZA
dc.subjectArts and state -- South Africaen_ZA
dc.subjectSouth Africa -- Cultural policyen_ZA
dc.subjectPerforming Arts -- South Africa -- Historyen_ZA
dc.subjectTheatre and Society -- South Africa -- Historyen_ZA
dc.subjectDissertation (M.A. (Drama and Theatre Arts))--University of the Free State, 2015en_ZA
dc.titleDrama-aktiwiteite van KRUIK in 1971 teenoor Kunstekaap in 2011: 'n vergelykende studieen_ZA
dc.typeDissertationen_ZA
dc.rights.holderUniversity of the Free Stateen_ZA


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