http://hdl.handle.net/11189/1917 2026-08-12T04:47:17Z 2026-08-12T04:47:17Z Hemmonsbey, Janice Dorothy http://hdl.handle.net/11189/9981 2026-07-23T06:40:32Z 2023-01-01T00:00:00Z

Title: Event spectators' perceptions on the impact of a reimagined cultural festival in Cape Town, South Africa Authors: Hemmonsbey, Janice Dorothy

2023-01-01T00:00:00Z Cwibi, Mzukisi Silo, Mandisa Nyathela-Sunday, Tshinakaho http://hdl.handle.net/11189/9973 2025-08-15T20:45:22Z 2023-01-01T00:00:00Z

Title: What do hotel managers think of employee rewards? an exploration of five-star hotels in Cape Town Authors: Cwibi, Mzukisi; Silo, Mandisa; Nyathela-Sunday, Tshinakaho Abstract: Reward systems are important tools that management can use to motivate employees; the main objective of organizations in awarding rewards is to attract and retain efficient, productive, and motivated employees. However, there is no evidence available regarding managers' perceptions of employee rewards in five-star hotels in Cape Town. Therefore, this study aims to explore the perceptions of five-star hotel managers about the reward systems offered to employees. Further, this paper attempts to explore the influence and impact of the covid-19 pandemic on the employee reward systems offered at five-star hotels. A total of 14 interviews were conducted with managers working in four selected five-star hotels. The study used semi-structured interviews to collect qualitative data. The data were analysed using Creswell’s six steps. The study's findings indicate that managers offered distinct types of rewards to their employees, including extrinsic and intrinsic rewards. Managers revealed that extrinsic rewards, specifically money, are the most preferred rewards. The study revealed that the impact of the Covid-19 pandemic led to hotels adjusting their employee reward systems to offer less extrinsic rewards and more intrinsic rewards. This paper concludes by recommending strategies to hotel management for enhancing the type of rewards offered to employees and offering utilisation of effective intrinsic rewards. This is to ensure that employees increase their value towards intrinsic rewards as much as they value extrinsic rewards Implications for future research are also presented.

2023-01-01T00:00:00Z Knott, Brendon Tinaz, Cem http://hdl.handle.net/11189/9952 2026-07-23T06:54:19Z 2023-01-01T00:00:00Z

Title: Articulating various legacies of major sport events in emerging nations Authors: Knott, Brendon; Tinaz, Cem

2023-01-01T00:00:00Z Hattingh, Chris http://hdl.handle.net/11189/9597 2024-02-08T20:45:52Z 2021-01-01T00:00:00Z

Title: ‘Eleganza extravaganza’: investigating the appeal of drag theatre in South Africa Authors: Hattingh, Chris Abstract: Theatre, in dramatic arts, relates to art in the form of live performances where the action is deliberately planned to stage a show or performance (Chaillet, Guthrie, & Davis, 2019). The word ‘theatre’ derives from the Greek word ‘theaomai’, meaning ‘to see’ (Chaillet et al., 2019) and typically refers to a configuration in which performers tell stories or put on a show for an audience (Ali, 2016). The foregoing points to the importance of performers and audiences to theatre productions, with the latter serving as the focus of the study. Hill, O’Sullivan, and O’Sullivan (2012) state “the audience is an integral part of an artistic experience ...[o]nly when the public experiences what the artist wishes to communicate is the creative process complete” (p. 36). However, in a competitive post-modern society, traditional theatre genres such as inter alia satire, plays, orchestras, contemporary ballet and dance, opera, and musicals, battle to attract audiences as a result of a myriad of more modern entertainment and leisure activities (Passebois & Aurier, 2004). In recent times, however, in contrast, it appears that cabarets in the form of drag entertainment are growing in popularity (Brennan & Gudelunas, 2017; McCormick, 2019; Sidi, 2018) with several entertainment venues across South Africa (and elsewhere) competing for this niche audience (Grootboom, 2019). Drag performances have however only become an accepted part of mainstream arts and culture during the last decade (Roschke, 2018), arguably due to the influence of RuPaul Andre Charles, the most respected and well-known drag artist in the world; the only one to have a star on the Hollywood Walk of Fame (Mahanty, 2018). RuPaul is widely recognised for revolutionising the portrayal of the Lesbian, Gay, Bisexual and Transgender (LGBT) community (Brennan & Gudelunas, 2017), largely due to the award-winning RuPaul’s Drag Race television show which has close to 1.2 million viewers for each episode (Petski, 2018). The show is described as a show business phenomenon that educates many people otherwise unfamiliar with aspects of LGBT culture (Rimalower, 2015) and has been so well accepted that it has become a remarkable international hit television series with catchphrases like “condragulations”, “lip sync for your life”, “sashay away” and “Eleganza Extravaganza” which all left an impression on popular culture (https://rupaulsdragrace.fandom.com/). Description: Conference Proceeding

2021-01-01T00:00:00Z