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17 December 2018 | Story Andre Grobler | Photo Supplied
Drought read more
Water-saving initiatives have been implemented throughout the university’s campuses to withstand the drought.

An attentive visitor to the University of the Free State (UFS) would have noticed that in the past year, certain parts of the Bloemfontein Campus’ gardens have undergone a change. This is part of the UFS’s water-wise and grey-water initiatives that are a response to the ongoing local drought conditions and water restrictions.

Waterless gardens

Senior Director: University Estates, Nico Janse van Rensburg, says the environmental conditions have had a severe impact on the appearance of the gardens. “The era where we had big lawns, has passed.”

Janse van Rensburg says the UFS decided to start the initiative at two highly visible areas, two traffic circles, one at the George du Toit Building and the other the Francois Retief Building.

More landscape changes can be seen in the gardens around the Biotechnology Building, Geography building and Muller Potgieter Building, as well as near the Institute for Groundwater Studies, Engineering Science and the Thakaneng Bridge.

Towards an energy-efficient environment

Paving in these areas is designed to allow for water to soak into the ground. Acting Grounds Services Manager, De Wet Dimo, says more than 100 indigenous trees, which are more adaptive to local environmental conditions, have also been planted. He says a new wood chipper which was recently purchased, will turn dead trees in gardens into wood chips to be used as mulch for new plants.

Dimo says the new look and feel of the gardens was created by using hard elements, paving and indigenous succulents.

New student residences, including those in Qwaqwa and South Campus will use a grey-water system using water which will be collected from showers and basins. The piping at two older residences on the Bloemfontein Campus has also been renovated to a two-way system.

“Rainwater harvesting systems have been fitted at all residences and academic buildings,” said Dimo. The 19 tanks that have been installed have a storage capacity of 265 kilolitres.  Janse van Rensburg says other water-wise initiatives that have been put into action include installing waterless urinals in administrative and academic buildings, water restrainers, pressure control systems (reducing the volume of water) and push-button systems instead of taps.

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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