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03 April 2018 Photo Sonia Small
First-rate fund managers in SA produced by UFS Prof Philippe Burger
of Philippe Burger, Acting Dean of the Faculty of Economic and Management Science.

A recent comparative study on the performance of South African fund managers has revealed that the-top performing fund managers over a running average of five years are former undergraduate students of the University of the Free State (UFS).

In an attempt to understand South Africa’s fund managers, Leigh Köhler, head of research at Glacier by Sanlam, and his team, published a comprehensive breakdown which looked at all South African universities and universities of technology. Aspects explored in the report included philosophy, process, people, organisational structure, and cost of funds. In addition, the study also considered characteristics such as age, tenure, level of qualification and undergraduate university to identify fund managers who are superior to their peers.

A closer look at the statistics
The majority of the sampled fund managers studied at the University of Cape Town (46%), University of Stellenbosch (10%), and University of the Witwatersrand (8%), while only 2% studied at the UFS. However, according to the report, “The highest average performance over five years was generated by fund managers who attended the UFS – 13.25%.” This means that for every rand they invested, the portfolios managed by UFS alumni got back approximately R1.13 annually, the highest return when compared to the returns generated by portfolio managers from other universities. These fund managers are employed by a range of institutions, including independent asset management firms, insurance companies, banks and wealth managers.

What our acting dean had to say

Prof Philippe Burger, Acting Dean at the UFS Faculty of Economic and Management Science, said: “When you and I put money into a pension fund or investment, portfolio managers buy bonds and shares with it from companies. Those companies use that money to invest in building factories, businesses, offices, and of course they make a profit on their investments. That profit is used to pay interest and dividends. These interest payments, dividends and increased share values constitute the returns paid to investors.”

The outstanding performance of UFS-groomed fund managers is a comment on the quality of the students UFS delivers. “For decades we have had a BComm degree that includes an option to specialise in what was previously called Money and Banking, and is now called Financial Economics. We are the only faculty that has had a focus on Financial Economics going back all the way to the late 1970s. In that sense we train people and give them an education that allows them to perform like this,” said Prof Burger. 

Moving forward, the faculty is looking at partnerships with financial institutions that can strengthen that capacity and give students increased value for money. 

News Archive

The universal power of music and song to convey the unspeakable
2015-05-07

Philip Miller
Photo: Johan Roux

Spotlight photo: John Hodgkiss

Philip Miller, award-winning composer and sound artist, recently delivered the second instalment of the Vice-Chancellor’s Lecture Series on Trauma, Memory, and Representations of the Past on the Bloemfontein Campus. This lecture series forms part of a five-year research project led by Prof Pumla Gobodo-Madikizela. The series focuses on how the creative arts represent trauma and memory, and how these representations may facilitate the healing of historical wounds.

Disrupting the Silence: The Past and Transnational Memory
In Miller’s lecture, ‘Disrupting the Silence: The Past and Transnational Memory’, he discussed the creative process – and the far-researching effects – of his composition: ‘REwind: A Cantata for Voice, Tape and Testimony’. The production consists of 4 soloists, an 80- to 100-member choir, a string octet, combined with gripping projected images and audio of victims testifying during the Truth and Reconciliation (TRC) hearings.

While listening to those raw recordings, Miller would rewind continually and listen again. In between the sounds of the tape stretching and spooling, sighs, gulps for air, and moments when the speakers lost their speech, a hidden sound world revealed itself. And within these silences lay an entrenched trauma far more profound than the actual words spoken.

Communal remembering
When Miller asked Nomonde Calata how she felt about his using the recording of her heart-rending cry during her TRC testimony, her reply was poignant. For Calata, her cries – taken over by the voice of Sibongile Khumalo during the cantata – were a living memorial to her loving husband. “And it almost felt like a soothing balm to her traumatic loss,” Miller said.

“I believe that a collective body of people singing is a unique symbolic act of communal remembering. But more than that, it is a deep form of identification of our humanity, and allows for some form of catharsis for those testifiers who have attended the live performances. Just as a parent sings a lullaby to calm a crying child, the choir singing reaches those of us who continue to mourn.

“Music and song – and the arts in general – can convey the powerful stories of our nation without fearing to engage with the subject matter,” Miller said. “This I believe is the universal power of music and song: to convey a spiritual dimension to what perhaps is sometimes too graphic and painful to comprehend fully.”

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