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07 March 2018 Photo Aden Ardenrich from Pexels
Is there a pollution solution
To make one cotton T-shirt up to 2 700 litres are used – that is two-and-a-half years of drinking water for one person.

Dr Cindé Greyling, a UFS DiMTEC (Disaster Management Training and Education Centre for Africa) alumni, studied drought mitigation – with a strong focus on communicating important water-saving information. 

Coming out of the closet

“We often point to the mining, agriculture, and energy sectors as water pollution culprits, which they are, but what about closer to home?” Dr Greyling asks. It is good if you take short showers, harvest rainwater, and are conscious about closing taps, but, she explains, there is a big problem hiding in your closet. Textiles. “It is difficult to put an exact number or ranking to it, but the textile industry could easily be in the top 10 water polluters. The cotton plant requires a lot of water and is one of the most chemically dependent crops in the world. Long before manufacturing starts, water is already at stake.” Not that polyester, or polyester blends are much better – when washed, thousands of microplastic fibers are released that eventually end up in our water sources and the oceans.

To dye for
“Most dyes used for textiles are also heavy water pollutants,” she explains. “And since we’ve developed a taste for cheap, mass-produced clothing, the production sites take strain – putting the community and environment at risk. When you wash these cheaply made garments, the same toxic dye is often visibly released.” The fashion industry is regularly criticised by animal activists for their insidious labour practices. But maybe it is time to help limit their environmental impact too.  

One in, one out
“We must unlearn our fashion gluttony. There is no pride in having a wardrobe full of clothes that you do not wear. Buy less, buy better quality, and care for your clothes so that you don’t have to replace them that often. To make one cotton T-shirt, up to 2 700 liters is used – that is 2 ½ years of drinking water for one person. My household applies a ‘one-in-one-out’ rule. You can only buy, for example, a new pair of denim jeans, if you take an old pair out that you either donate or repurpose. It works very well – you think twice about purchasing.”

A helping hand
Dr Greyling thinks that beside individual efforts, the UFS community can contribute a lot toward reducing textile water pollution, such as opening a pre-used clothing bank on campus. “Students are very influential and can easily create a ‘cool to re-use’ fashion trend, even if just locally. Also, research students can further explore and develop textile alternatives like bamboo, hemp, or a more water-friendly synthetic.” 

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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