Decolonising higher education curricula in South Africa: factoring in archives through public programming initiatives

South African higher education curricula are largely Eurocentric, to such an extent that indigenous knowledge is marginalised (Horsthemke in Transform High Educ 2(1)–9, 2017). Consequently, the decolonisation of university curricula has become a necessity. The nationwide ‘FeesMustFall’ student protests in 2015 and 2016 have underlined the need to address this matter urgently. Free quality education and the decolonisation of university curricula were among some of the students’ demands (Le Grange in SAJHE 30(2):1–12, 2016). Fundamentally, decolonising curricula involve a serious investigation of history and the strategising of future actions (Ngulube in Historia 47(2):563–582, 2002). Little is known about the potential role of archives in the process of decolonising higher education curricula in South Africa. Perhaps this can be attributed to a lack of awareness about archives and their significance in South Africa (Sulej in ESARBICA J 33:13–35, 2014). This paper explores the role of archives in the decolonisation of higher education curricula in South Africa. It appears that sub-Saharan scholars rarely consult archives (Onyancha et al. in ESARBICA J 32:67–77, 2013). Therefore, public programming is investigated as a means to get more members of the academic community to use archives as centres of critical inquiry. The relevant literature was consulted and discussed. Unique outreach or public programming initiatives will help the academic community to better understand the significance of archives in the decolonisation process.     

Spanish historic archives’ use of websites as a management transparency vehicle

Against the backdrop of Spain’s Transparency Act, this article discusses the presence or otherwise of a series of document types, proposed as management-related transparency indicators, on 61 (8 national and 53 provincial) historic archive websites. Although examples of good practice were identified, the information provided was found to be scant, in particular as regards lines of action, organisational objectives and yearly reports. The information most commonly provided on the websites included the collection classification chart, service use regulations and citizen charters. The inference drawn was that archives, so intently focused on their role in the application of the Act by the organisations they serve, neglect their own administrative obligations in respect of its provisions. The recommendation is that as government-funded and subsidised public service institutions, historic archives should exercise transparency by furnishing the information stipulated in the Act on their websites.     

“Seeking Information from the Lips of People”: oral history in the archives of Qatar and the Gulf region

The turn to oral history in Qatar and the Arabian (also known as Persian) Gulf is not a rejection of traditional archival authority as has been the case in other parts of the world. In the Gulf, oral history has been embraced out of a desire to fill the silences of the largely unwritten record attributable to previous low levels of literacy and strong oral traditions in the region. Today, oral history is seen as the best method to capture details about traditional ways of life during the pre-oil era. After discussing archival concerns about the evidentiary nature of oral histories, this paper explores how it has come to be a crucial documentation tool in the Gulf, adapted to the specific nation building and cultural heritage priorities of the region.     

Radio as a Screen Medium in BBC Arts Broadcasting

Today more than half of all radio listening in the UK is occurring through digital platforms. Within this context the BBC’s current arts proposition provides a valuable insight into how public service broadcasters are adapting and responding to this burgeoning digital audience. In particular, attention is drawn to the ways in which digital platforms are used to supplement and enhance the auditory listening experience. In doing so, the present article argues that radio continues to occupy a significant position in furthering public engagement with the arts due to, rather than despite of, advances in digital technology.