https://ir.unisa.ac.za/handle/10500/172 2026-08-03T13:44:15Z 2026-08-03T13:44:15Z Mpayiphel, Mpayiphelo https://ir.unisa.ac.za/handle/10500/32807 2026-07-29T13:48:09Z 2025-02-01T00:00:00Z

Becoming the other through intercultural identity: a practice -led-based autoethnographic journey of being a Rastafarian Mpayiphel, Mpayiphelo This study is an autoethnographic representation of the researcher’s journey as a Rastafarian and is expressed through visual metaphors. It interrogates the predisposition and vulnerabilities caused by being othered through stereotypification within intercultural identity existence. Otherness in this study is explored as a complex and multivalent term defined by differences through outside markers and internal characteristics within cultural identities. It outlines the psychoanalytic and philosophical origins of othering and stereotyping among different cultures, their present-day practice and selected criticisms. It further argues that ethnic minority cultures like South African Rastafari are bound by intercultural othering through the formation of stereotypes, discriminating against cultural groups’ representation of the self and the other and religious othering. Lastly, it maintains that othering defines the power arrangements in cultural hierarchies and the representational significances, such as identity construction. It aims to reveal that Rastafarians take pride in their Africanity, acknowledging Ethiopia from where it originated and that this is one country in Africa that was never colonised. This research is both practice-led and based, and it culminated in a solo exhibition and is framed within the concepts of othering and stereotyping and the post-colonial theory of Liminality. Phenomenology and autoethnography are used within a qualitative paradigm to unearth and explain emergent knowledge, which is also presented in the practical works forming an integral part of this research; Olu phandolwazi lubonisa indlela yophandontyilazwi apho umphandilwazi asebenzisa amava akhe obuqu ukuqonda imicimbi yezentlalo kuhambo lwakhe nanjengeRasta kwaye lubonakaliswa ngezafobe ezibonakalayo. Luhlalutya ukuba sesichengeni nokuba semngciphekweni okubangelwa kukuchazwa ngenye indlela okanye ukwahluka kusetyenziswa iingcinga ezigwenxa ngokuba nobuni beenkcubeko ezahlukileyo. Ukwahluka kolu phandolwazi kuphononongwa nanjengegama elintsonkothileyo nelibanzi elichazwa kukwahluka ngokweempawu zangaphandle nezangaphakathi ngaphakathi kwiimpawu zobuni ngokwenkcubeko. Luchaza imvelaphi yokufihlakeleyo engqondweni nefuthe lako ekuziphatheni nakwiinkolelo zokuchazwa ngenye indlela nangokweengcinga ezigwenxa phakathi kweenkcubeko ezahlukileyo, inkqubo yazo yanamhlanje kunye nezigxeko ezikhethekileyo. Lukwaxoxa kwakhona ukuba iinkcubeko eziligcuntswana okanye ezincinci zobuhlanga ezifana neyamaRasta oMzantsi Afrika ziqingqwe kukuchazwa ngenye indlela okanye ukwahluka ngokwenkcubeko ngokwakhiwa kweengcinga ezigwenxa, ucalucalulo lokuzibonakalisa kwamaqela eenkcubeko ezahlukileyo ukuba ngubani omnye komnye kunye nokuchazwa ngenye indlela okauye ukwahluka ngokwenkolo. Okokugqibela, olu phandolwazi luxhasa ukuba ukuchazwa ngenye indlela okanye ukwahluka kuchaza ukuhlela ngokwamanqanaba enkcubeko kunye nokubaluleka kokumelwa, okufana nokwakhiwa kobuni. Injongo yalo kukuveza ukuba amaRasta ayazingca ngobuAfrika babo, lusamkela iEthiopia apho ubuRasta buvela khona kwaye eli lelona lizwe eAfrika elingazange libe phantsi kobukoloniyali. Olu phandolwazi lukhokelwa kwaye lusekelwe kumsebenzi owenziwayo wezandla, luye lwafikelela kumboniso owodwa kwaye luqulunqwe phakathi kwesigama sokuchazwa ngenye indlela okanye ukwahluka kwabanye abantu nakwiingcinga ezigwenxa kunye vi nengcingane yasemva kobukoloniyali yoqingqwa kweenkcubeko okanye iqela elithile labantu i-post-colonial theory of Liminality. Kusetyenziswe uphandolwazi ngokwamava oluntu kwezentlalo kunye nendlela yophandontyilazwi apho abaphandilwazi basebenzisa amava abo obuqu ukuqonda imicimbi yezentlalo (i-autoethnography) zisetyenziswa ngaphakathi kwindlela yophandontyilazwi ukubhentsisa nokucacisa ulwazi oluvelayo, olukwabonakaliswe kwimisebenzi eyenziwayo eyenza inxalenye ebalulekileyo yolu phandolwazi.; Nyakišišo ye ke kemedi ya othoetenokrafi ya leeto la monyakišiši bjalo ka Lerasta gomme e tšweletšwa ka ditshwantšhišo tša go bonwa. E botšološiša tshekamelo le mafokodi a go hlolwa ke go ba yo mongwe ka go swantšha ka gare ga go ba gona ga boitšhupo bja go akaretša ditšo. Boswananoši ka gare ga nyakišišo ye bo nyakišišwa bjalo ka lereo la mohola ye mentši leo le hlalošwago ke diphapano ka maswao a ka ntle le dimelo tša ka gare ka gare ga boitšhupo bja setšo. E hlaloša mathomo a tshekatsheko ya monagano le ya filosofi ya go dira tše dingwe le go dira dilo tše di sa swanego gare ga ditšo tše di fapanego, mokgwa wa bona wa sebjalebjale le ditshwayatshwayo tše di kgethilwego. Gape e bolela gore ditšo tša merafe ye mennyane go swana le Marasta a Afrika Borwa di tlengwa ke go akaretša setšo se sengwe ka go bopa dikgopolotee tše di sa swanego, go kgetholla kemedi ya dihlopha tša setšo tša boithati le yo mongwe le go ba ba bangwe ga bodumedi. Sa mafelelo, e tiišetša gore go ba bangwe go hlaloša dipeakanyo tša maatla ka go tatelano ya setšo le bohlokwa bja kemedi, go swana le kago ya boitšhupo. E ikemišeditše go utolla gore Marasta a ikgantšha ka Boafrika bja ona, a amogela Ethiopia moo e thomilego gona le gore ye ke naga e tee ka Afrika yeo e sa kago ya dirwa dikoloni. Nyakišišo ye ke ya bobedi go etwa pele le go thewa godimo ga mokgwa, gomme e feleleditše ka pontšho ya go ba noši gomme e foreimilwe ka gare ga dikgopolo tša go dira tše dingwe le go dira dilo tše di sa swanego le teori ya ka morago ga bokoloniale ya Liminalithi (Liminality). Fenomenolotši le othoetenokrafi di šomišwa ka gare ga mmotlolo wa boleng go utulla le go hlaloša tsebo ye e tšwelelago, yeo gape e tšweletšwago ka mešomong ye e šomago yeo e bopago karolo ye bohlokwa ya nyakišišo ye. Abstract in English with Xhosa and Northen Sotho translations

2025-02-01T00:00:00Z Tshangana, Nangamso Ntokozo https://ir.unisa.ac.za/handle/10500/32806 2026-07-29T12:43:25Z 2025-02-01T00:00:00Z

Utilisation of the internet of things in the management of information services at Polokwane municipality libraries in the Limpopo province of South Africa Tshangana, Nangamso Ntokozo This study interrogates female obesity, referencing contradicting Xhosa and Western cultural stereotypes and their impact on modern females, arguing that these stereotypes affect individuals’ self-acceptance, sometimes resulting in low self-esteem. It also highlights the impact of social media on the obesity of modern young women, affecting their self-image and confidence. The study argues that the contradicting African cultural and Western stereotypes present modern African women’s self-image with emotional and physical chaos. This is because most African traditional cultural people believe that a healthy child’s image is that of a full body, which is in opposition to the Western norm that a thin body shape is “sexy” and a sign of wellness. This study is set within phenomenological and autoethnographic methodologies based on the researcher’s self-reflection while presenting various scenarios and practices regarding the modern female body and its dilemmas. These include beauty pageantry, acceptable looks and current practices such as tummy tucks, breast enlargement and reduction, buttocks augmentation and many other modifications driven by the so-called ideal and appealing female body. This study further argues that fatness both fascinates and repels modern society, as can be seen in the popularity of fat jokes in an era of supposed tolerance and respect for diversity and in the mockery of fat bodies in the pop cultural spheres. Thus, in this context, fatness is stigmatised due to socially acceptable stereotypes. The study is situated within current feminist discourses on the female embodiment of her body and the application of stereotyping as a form of stigmatising. Feminist theories describe the present condition of women and men’s ways of understanding towards eliminating race, gender and sexual hierarchies. Male and female gaze concepts are also explored to express the impact of stereotypes on the female body. This study is practice-led and practice-based, and it culminated in a solo exhibition depicting emerging visual representations towards new knowledge while improving artistic practice. The practical work was framed through various contemporary artistic discourses that deal with and embrace the full body shape, as well as using art activism as a therapeutic endeavour.; Olu phandolwazi luphanda ngokutyeba kwabasetyhini, lubhekisa kwiinkolelo ezigwenxa eziphikisanayo zenkcubeko yamaXhosa neyaseNtshona kunye nefuthe lazo kubantu basetyhini bale mihla, lubonisa ukuba ezi nkolelo zigwenxa zichaphazela ukuzithemba komntu, ngamanye amaxesha zikhokelela ekuzijongeleni phantsi. Lukwabhentsisa ifuthe lamajelo onxibelelwano loluntu ekutyebeni kwabasetyhini abaselula bale mihla, elichaphazela indlela abazibona ngayo nokuzithemba kwabo. Olu phandolwazi lubonisa ukuba iinkolelo ezigwenxa eziphikisanayo zenkcubeko yamaAfrika neyaseNtshona ziveza indlela abazibona ngayo abasetyhini bale mihla kunye nokudideka ngokweemvakalelo nasemzimbeni. Oku kungenxa yokuba abantu abaninzi benkcubeko yemveli yaseAfrika bakholelwa ukuba umfanekiso womntwana osempilweni ngumzimba omkhulu, nto leyo ephikisanayo nenkcubeko yaseNtshona yokuba umzimba obhityileyo onomtsalane ngo- "sexy" nobonakalisa impilo entle. Olu phandolwazi lusekelwe kwiindlela zokwenza uphando ngokwamava oluntu kwezentlalo kunye nendlela yophandontyilazwi apho abaphandilwazi basebenzisa amava abo obuqu ukuqonda imicimbi yezentlalo (iautoethnography), esekelwe ekuzibonakaliseni komphandilwazi ngelixa ebonisa iimeko ngeemeko neenkqubo ngeenkqubo malunga nemizimba yabasetyhini yale mihla kunye neengxaki zayo. Oku kuquka imiboniso yoonobuhle, inkangeleko eyamkelekileyo kunye neenkqubo zangoku ezifana nokunciphisa isisu, ukukhulisa nokunciphisa amabele, ukongezwa kweempundu kunye nolunye utshintsho lwenkangeleko olubanzi olwenziwayo kwimizimba yabasetyhini olubizwa ngokuba kukufaneleka nokuba nomtsalane. Olu phandolwazi luqhubeka lubonisa ukuba ukutyeba kusematheni kwaye akwamkelekanga kuluntu lwale mihla, nanjengoko kunokubonwa indlela uluntu oluthanda ngayo ukuhlekisa ngokutyeba ngelixa kusithiwa uluntu luyanyamezelana kwaye iyahlonitshwa iyantlukwano yalo, kunye nokuhlekwa nokugezelwa kwemizimba etyebileyo kwiinkalo vii ezahlukileyo zentlalo yoluntu. Ngoko ke, kule meko, ukutyeba kubekwa ibala ngenxa yeenkolelo ezigwenxa ezamkelekileyo eluntwini. Olu phandolwazi lubekelwe phakathi kweengxoxo zangoku zobutshantliziyo ngezobubhinqa malunga nokubonakaliswa kwemizimba yabasetyhini kunye nokusetyenziswa kweenkolelo ezigwenxa nanjengendlela yokubeka ibala. Iingcingane zobutshantliziyo ngezobubhinqa zichaza imeko yangoku yeendlela zabasetyhini nezamadoda zokuqonda malunga nokuphelisa ukungalingani ngokobuhlanga, isini kunye nezesondo. Kukwaphononongwa nesigama sendlela yokujonga amadoda nabasetyhini ukubonisa ifuthe leenkolelo ezigwenxa kwimizimba yabasetyhini. Olu phandolwazi lusekelwe kwaye lukhokelwa ngumsebenzi wezobugcisa, lwaze lwafikelela kwinqanaba lomboniso wobugcisa owodwa obonisa ukuboniswa okubonakalayo kokuvelayo kulwazi olutsha ngelixa kuphuculwa umsebenzi wezobugcisa. Umsebenzi owenziwayo wezandla uqulunqwe ngeentetho ezahlukileyo zobugcisa zala maxesha ezijongana nokwamkela ukumila komzimba omkhulu, kunye nokusebenzisa ubutshantliziyo bezobugcisa nanjengenzame yokulungisa umba wezempilo nempilontle yoluntu.; Nyakišišo ye e botšološiša go nona ga basadi, e šupetša thulano ya dikgopolotee tša setšo sa Bodikela le sa Sethosa le khuetšo ya tšona go basadi ba sebjalebjale, ka go bolela gore dikgopolotee tše di ama boikamogelo bja batho, ka dinako tše dingwe di feleletša ka boinyatšo. Gape e gatelela khuetšo ya bobegaditaba tša leago godimo ga go nona ga basadi ba e lego baswa ba sebjalebjale, go ama boitlhompho le boitshepo bja bona. Nyakišišo e bolela gore dikgopolotee tše di thulanago tša setšo sa Afrika le sa Bodikela di fa boitlhompho bja basadi ba sebjalebjale ba Afrika mathata a maikutlo le a mmele. Se ke ka lebaka la gore bontši bja batho ba setšo sa setšo sa Afrika ba dumela gore seswantšho sa ngwana yo a phetšego gabotse ke sa mmele wo o feletšego, seo se thulanago le mokgwa wa Bodikela wa gore sebopego se se sesane sa mmele se “sexy” gape ke seka sa bophelo bjo bobotse. Nyakišišo ye e beakantšwe ka gare ga mekgwa ya fenomenolotši le othoetenokrafi yeo e theilwego godimo ga boipotšološišo bja monyakišiši mola e tšweletša maemo le mekgwa ye e fapanego mabapi le mmele wa sebjalebjale wa mosadi le mathata a wona. Tše di akaretša go bontšha botse, ponagalo ye e amogelegago le mekgwa ya bjale ya go swana le go dithamithake, go oketša le go fokotša matswele, go oketša marago le diphetogo tše dingwe tše ntši tšeo di hlohleletšwago ke seo se bitšwago mmele wa mosadi wo o lego maleba le wo o gogago šedi. Nyakišišo ye e tšwela pele gape go bolela gore go nona go kgahla le go tena setšhaba sa matšatši a lehono, bjalo ka ge go ka bonwa ka go tuma ga metlae ya ka ka ga go nona mehleng yeo go thwego ke ya kgotlelelo le tlhompho ya go fapafapana le go kwerwa ga mebele ye e nonnego mo dikarolong tša setšo sa phopo (pop). Ka go realo, mo sebopegong se, go nona go kgethollwa ka lebaka la dikgopolotee tše di fošagetšego tšeo di amogelegago setšhabeng. Nyakišišo e beakantšwe ka gare ga dipolelo tša bjale tša bofeminisi ka ga mothofatšo ya mosadi wa mmele wa gagwe le tirišo ya go se swane bjalo ka mokgwa wa go kgetholla. Diteori tša bofeminisi di hlaloša seemo sa bjale sa ditsela tša kwešišo tša ix basadi le banna go ya go fediša maemo a morafe, bong le thobalano. Dikgopolo tša go lebelela ga banna le basadi le tšona di a hlahlobja go tšweletša khuetšo ya dipono tše di sa swanego mmeleng wa mosadi. Nyakišišo ye ke ya go etwa pele le go thewa godimo ga tiragatšo, gomme e feleleditše ka pontšho e tee ye e bontšhago dikemedi tša pono tše di tšwelelago go ya tsebong ye mpsha mola e kaonafatša mokgwa wa bokgabo. Mošomo wo o šomago o be o foreimilwe ka dipolelo tša bokgabo tša sebjalebjale tše di fapafapanego tšeo di lebanego le go amogela sebopego sa mmele ka moka, gammogo le go šomiša boikgafo bja bokgabo bjalo ka maitapišo a kalafo. Abstract in English with Venda and Xhosa translations

2025-02-01T00:00:00Z Pillay, Lucelle Bernadette https://ir.unisa.ac.za/handle/10500/32774 2026-07-25T07:54:59Z 2026-01-01T00:00:00Z

A dialogical analysis of ‘Indian’ South African identity and representation in contemporary visual arts, expressed through data-fluid narratives Pillay, Lucelle Bernadette This study analyses ethnoracial identity formation from the perspective of the self (the artist) and the collective (artists, historians, curators, academics), applying a qualitative mixed methodology within this practice-led visual art research. The enquiry into ‘Indian’ South African identity is both complex and perplexing. A dialogical approach to both theory and art practice provides intellectual and intuitive responses about ethnic identity in South Africa. I use a reflexive (self-dialogical) methodology based on memory, experiential and historical artefacts to create iterations of personal and collective identity formations. Data from archival records (Indian Indenture Ship Lists 1860-1911) undergoes a digital process of sorting and parsing. Narratives are then extracted and visualised within the aesthetic domain of the visual arts, inextricably bound by geography and shifting ideologies. The focus of this study is my own generational group (born in the early 1970s), which has lived through the socio-political contexts of colonialism, apartheid, and democracy. It is based on the premise that my social conditioning in South Africa is unique and unusual, being located at the cusp of transition from rigid racial segregation to democratic freedom. The concept of ‘fluidity’ is used to describe an intellectual position that is characterised by openness, neutrality and racial inclusivity. This study contributes new knowledge about contemporary ‘Indian’ identity formations invisibilised within South African visual culture. The exhibition Afterisms: Excentric Data–Fluid Narratives further contributes to the global paradigm of technology-based contemporary art and offers a cultural reparative, as well as addresses historical oversight through symbolic action.; Hierdie studie het etnoras-identiteitsvorming vanuit die perspektief van die self (die kunstenaar) en die kollektief (kunstenaars, historici, kurators, akademici) geanaliseer, deur middel van ʼn kwalitatiewe gemengde metodologie binne hierdie praktykgeleide visuele kunsnavorsing. Die ondersoek na ‘Indiese’ Suid-Afrikaanse identiteit is beide kompleks en verwarrend. ʼn Dialogiese benadering tot beide teorie en kunspraktyk het intellektuele en intuïtiewe reaksies oor etniese identiteit in Suid-Afrika verskaf. Ek het ʼn refleksiewe (selfdialogiese) metodologie gebaseer op geheue, ervarings en historiese artefakte gebruik om iterasies van persoonlike en kollektiewe identiteitsvormings te skep. Data uit argiefrekords (Indiese Kontrakskeepslyste 1860–1911) het ʼn digitale proses van sortering en analise ondergaan. Narratiewe is toe onttrek en gevisualiseer binne die estetiese domein van die visuele kunste, onlosmaaklik verbind deur geografie en verskuiwende ideologieë. Die fokus van hierdie studie was my eie generasiegroep (gebore in die vroeë 1970’s), wat die sosiopolitieke kontekste van kolonialisme, apartheid en demokrasie deurleef het. Dit is gebaseer op die uitgangspunt dat my sosiale kondisionering in Suid-Afrika uniek en ongewoon is, geleë op die oorgangspuntpunt van rigiede rasse-segregasie na demokratiese vryheid. Die konsep van ‘fluïditeit’ is gebruik om ʼn intellektuele posisie te beskryf wat gekenmerk word deur openheid, neutraliteit en rasse-inklusiwiteit. Hierdie studie dra nuwe kennis by oor kontemporêre ‘Indiese’ identiteitsformasies wat onsigbaar is binne die Suid-Afrikaanse visuele kultuur. Die uitstalling Afterisms: Excentric Data-Fluid Narratives dra by tot die globale paradigma van tegnologie-gebaseerde kontemporêre kuns, bied ʼn kulturele herstel en kyk na historiese oorsig deur simboliese optrede.; Lolu cwaningo luhlaziye ukwakheka kobunikazi bezizwe ngezindlela ezihlukahlukene kusuka kumbono womuntu siqu (iciko) kanye nombutho (amaciko, izazi zomlando, abagcinimibukiso, nezifundiswa), lusebenzisa indlela exubile yocwaningo oliyikhwalithi ngaphakathi kocwaningo lobuciko obuholwa yimisebenzi. Ukuphenya ngobunikazi ‘baseNdiya’ baseNingizimu Afrika kuyinselelo kanti futhi kuyadida. Ukuxoxisana ngabo bobubili ubuciko obubhaliwe kanye nobusebenzayo kunikeze izimpendulo eziphusile nezicacile mayelana nobunikazi besizwe eNingizimu Afrika. Ngisebenzise indlela yokuzihlola (yokuxoxa nami) esuselwa kulokho engikukhumbulayo, engihlangabezane nakho phambilini kanye nemifanekiso yomlando ukudala izinguquko zokwakheka kobunikazi bomuntu siqu kanye nobabanye abantu. Ulwazi olutholakala emarekhodini alondoloziwe (Indian Indenture Ship Lists 1860-1911) lwahluzwa ngendlela yobuchwepheshe yokuhlunga nokuhlukanisa. Izindaba zabe sezicashunwa futhi zaboniswa ngaphakathi komkhakha wobuciko obubukwayo, obuhlotshaniswa ngokungenakwahlukaniswa nendawo kanye nemibono eguquguqukayo. Lolu cwaningo lugxile eqenjini lami engikhule nalo (elizalwe ekuqaleni kweminyaka ye-1970), eliphile ezimeni zomphakathi nezombusazwe ngezikhathi zengcindezelo, ubandlululo kanye nombuso wentando yeningi. Kususelwa ekutheni indlela engakhuliswa ngayo eNingizimu Afrika iyingqayizivele futhi ayivamile, njengoba ngisesigabeni soguquko olukhulu kusukela ekucwasweni ngokobuhlanga kuya enkululekweni yentando yeningi. Umqondo wokuthi 'ukuguquguquka' wawusetshenziselwa ukuchaza indawo yokucabanga ebonakala ngokuvuleleka, ukungachemi kanye nokubandakanya zonke izinhlanga. Lolu cwaningo lunikeza ulwazi olusha ngendlela yobunikazi besimanjemanje 'baseNdiya' obungabonakali ngaphakathi kwesiko elibonakalayo eNingizimu Afrika. Umbukiso i-Afterisms: Excentric Data–Fluid Narratives wengezelele kakhulu kumqondo womhlaba-jikelele wobuciko besimanje obususelwa kubuchwepheshe futhi unikeza ukulungiswa kwesiko kanti futhi ubhekana nokunganakwa komlando ngokwenza izenzo ezinemifanekiso. Text in English with abstract in isiZulu, English and Afrikaans

2026-01-01T00:00:00Z Shekgola, Moses Mahlatse https://ir.unisa.ac.za/handle/10500/32766 2026-08-03T09:07:03Z 2024-04-01T00:00:00Z

Digital curation of public archives through free and open-source software in South Africa Shekgola, Moses Mahlatse Free and open-source software (FOSS) offers a viable solution for supporting digital curation, the transfer and long-term preservation of digital archives in South Africa. This is important since many governmental institutions, including archival institutions in South lack of infrastructure including reliable software’s, storage capacity and technical expertise, to ingest digital records as the sharpest thorn in the management and preservation of records. FOSS is lauded for reducing dependence on proprietary technologies, lower software costs, improve interoperability and promote digital sovereignty. Despite these benefits, its implementation across public sector institutions remains limited. Most public archival institutions rely on proprietary and to incur high licensing costs, software vendor lock-in, and limited flexibility. The above-mentioned factors thus threaten sustainability and long-term digital preservation of archives. This qualitative case study utilised constructs from the Digital Curation Centre (DCC) Lifecycle Model, the Records Life Cycle Model, and insights from the literature review to investigate the digital curation of public archives through FOSS in South Africa. Records managers and information technology (IT) specialists were purposively selected from national government departments and the National Archives and Records Service of South Africa (NARSSA). Only institutions that had implemented electronic content management or digital records management systems were included in the study. Two participants were selected from each organisation, representing records management and information technology functions. Data were collected through semi-structured interviews and document analysis to enable methodological triangulation. The data were analysed thematically and presented using themes supported by word clouds, figures, tables, and verbatim quotations in accordance with the study objectives. The analysis generated themes relating to the policy, legislative and standards framework governing FOSS and digital curation; existing digital curation solutions; the digital curation competencies of archives and records professionals; organisational and technological factors influencing the adoption of FOSS; interoperability of digital records management systems; security measures supporting digital curation; and strategies for promoting the implementation of FOSS in the digital curation of public archives in South Africa. The findings reveal that proprietary software dominates digital curation practices within South African national government departments. Most participating institutions rely on commercial enterprise content management systems for records management and digital preservation. Although participants demonstrated awareness of FOSS and recognised several of its potential advantages, this knowledge has not translated into practical implementation. Instead, organisations continue to favour proprietary platforms because of existing institutional investments, established vendor relationships and perceptions regarding technical support and reliability. The study further identified several benefits associated with implementing FOSS for digital curation. Moreover, participant acknowledged that open-source software can significantly reduce software licensing costs, increase organisational flexibility, eliminate vendor lock-in, improve interoperability between information systems and allow institutions to customise software according to their operational requirements. FOSS also promotes transparency, encourages collaborative software development and supports the long-term sustainability of digital preservation initiatives. Furthermore, the availability of source code allows institutions greater control over system development and future technological upgrades. Despite these recognised benefits, the study identified numerous barriers hindering FOSS implementation. These include inadequate management support, limited technical expertise among information technology personnel, insufficient awareness of available FOSS solutions, organisational resistance to technological change, inadequate financial investment in digital preservation initiatives and the absence of comprehensive implementation frameworks. Concerns regarding technical support, software maintenance, staff training and system integration further discourage organisations from migrating away from proprietary platforms. Additionally, procurement practices and existing ICT governance structures tend to favour commercial software vendors, making the transition to FOSS more difficult. The study further established that while South Africa possesses national policies encouraging FOSS adoption, implementation remains fragmented and inconsistent across government departments. Existing policy directives have not been sufficiently translated into organisational strategies, operational guidelines or implementation plans. As such, institutions lack clear governance structures that promote the evaluation and adoption of open-source technologies for digital curation. This policy-practice gap represents one of the major obstacles preventing widespread FOSS implementation within the archival sector. Another important finding concerns organisational capacity since successful implementation of FOSS requires skilled personnel capable of installing, configuring, maintaining and supporting open-source applications. The study found that many public entities experience shortages of specialised digital preservation and open-source software skills. This skills gap limits organisational confidence in adopting FOSS and reinforces continued dependence on proprietary vendors. Drawing on the findings, the study proposes several strategies for promoting FOSS implementation in digital curation. These include strengthening government commitment to FOSS through enforceable implementation frameworks, developing national guidelines for digital curation using open-source technologies, increasing investment in staff training and capacity building, establishing collaborative communities of practice among archives and government departments, integrating FOSS into archival education programmes and promoting pilot projects that demonstrate successful implementation. The study further recommends partnerships between government, universities, archival institutions and the open-source community to encourage knowledge sharing and technical support. The study concludes that while awareness of FOSS exists within South African public entities, its practical adoption for digital curation remains extremely limited. Proprietary software continues to dominate despite government policy support for open-source technologies and the recognised benefits of FOSS. Unless public institutions address organisational, technical, policy and capacity-related barriers, South Africa is likely to remain dependent on proprietary digital preservation solutions, potentially compromising the long-term sustainability, affordability and independence of its digital archival infrastructure.

2024-04-01T00:00:00Z