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17 April 2019 | Story Mamosa Makaya
National Lotteries Commission
Front row from the left: Dr MA Madzivhandila (board member), Prof YN Gordhan (board member), Ms Charlotte Mampane (Commissioner), Prof D Coetzee (South Campus Principal), Ms Bish B Ramahlele (Director: Community Engagement) Back row from the left T Mandyu (Provincial Manager), Prof NA Nevhutanda (Chairman of the Board), Mr F Van Der Wat (Deputy Director: KovsieSport)

The University of the Free State (UFS) has over many years embarked on developmental projects to improve and upgrade its sports facilities, sports research, medical research, arts and cultural programmes and community focused programmes. These projects were made possible with the financial support of the National Lotteries Commission (NLC) which has provided funding through grants to the UFS since 2006. The UFS office of Institutional Advancement (IA) hosted the NLC on the Bloemfontein Campus on 5 April 2019, where a presentation on the success of projects was made. The role of the IA office is to ensure that the university complies with reporting requirements set out in the grant agreements and that the university maintains good relations with the NLC over the long term.

Funding fortifies UFS projects
Feedback on the success and impact of various projects was presented, such as the visual arts project. This includes the public sculpture project funded with over R3 million in 2009, which brought about the creation of outdoor sculptures that can be seen on the university grounds produced by local and regional sculptors. Feedback was provided by Ms Angela de Jesus, Curator, UFS Arts Collection and Assistant Director: Johannes Stegmann Gallery.  

In 2010 the NLC funded the upgrading of the UFS swimming pool for more than R2 million. The pool was rebuilt to bring it up to Olympic standards, allowing UFS students to have a facility at which to train for international swimming competitions. Feedback on the project was provided by Mr Frans van der Wat, Deputy Director: KovsieSport. Other funded projects are the Khoisan early learning centre, which teaches young learners on the history and culture of the “first people” of South Africa, and the Arts in Schools Project, which were both funded in 2009 for more than R6 million combined. More funded projects include the upgrading of the Johannes Stegmann Gallery in 2017, research into swimming in the Free State, and equipment for the South African Doping Control Laboratory (SADOCol), which is the only laboratory of its kind in Africa, which were funded between 2010 and 2012, totalling R4.8million.

Community development and engaged scholarship
After the change in the mandate of the Provincial Arts Council of the Free State (PACOFS) after 1996, many local dramatic arts professionals in the province were faced with dwindling work opportunities. The UFS, through the Department of Drama and Theatre Arts, stepped in to create arts programmes that would help develop and retain the skills of local performers and playwrights and an opportunity for them to be trained and directed by UFS and industry-based professional directors. 

Prof Nico Luwes, from the UFS Department of Drama and Theatre Arts, said: “I initiated the formation of the Free State Theatre Acts (FACTS) as a section 21 Company with committee members from UFS staff and local actors, with the aim of creating work for professional actors in the greater Bloemfontein area.” A combination of grants from the NLC and the UFS Department of Drama, between 2006 and 2010 resulted in 19 professional plays and four professional musicals, performed by Free State professional artists including community players from Heidedal, Botshabelo and drama students, using English, Afrikaans and Sesotho. These initiatives brought together students and artists from different linguistic and cultural backgrounds, who worked together to perform at local and national arts festivals. Although the NLC will not be funding arts and culture projects at universities in the 2019-2020 financial year, the university is hopeful to be considered in the future.

The UFS and NLC have had a successful working relationship and the feedback session aimed to strengthen the ties between them. Members of the board of the NLC expressed pride at how the UFS has developed not only its own projects, but the Free State community as well. The team was treated to an art exhibition of the work of Cape Town-based artist Ieshaan Adams at the Johannes Stegmann gallery.

News Archive

You touch a woman, you strike a rock
2004-11-02

Prof. Engela Pretorius van die Departement Sosiologie in die Fakulteit Geesteswetenskappe by die Universiteit van die Vrystaat het die kwessie omtrent feminisme aangespreek tydens haar intreerede met die onderwerp, You touch a woman, you strike a rock: Feminism(s) and emancipation in South Africa .

Prof. Pretorius het gesê: “Die geskiedenis van feminisme oor die algemeen kan in drie fases verdeel word, waarna verwys word as golwe. Eerste-golf-feminisme (19de eeu) het die fokus geplaas op die beskerming van vroueregte in die openbare terrein, spesifiek die reg om te stem, die reg tot onderrig en die reg om middelklas beroepe en professies te betreë.

Vroeë tweede-golf-feminisme word onthou vir hoe dit moederskap geteoretiseer het as synde ‘n onderdrukkende instelling. Slagspreuke van die 1970s was die persoonlike is polities en susterskap is magtig. Prof. Pretorius sê beide slagspreuke bevestig die idee dat vroue universeel onderdruk en uitgebuit word en slegs deur erkenning van dié situasie kan vroue die strukture wat hul onderdruk verander.

‘n Belangrike aspek van die derde golf van die feminisme-teorie is post-moderne feminisme wat diversiteit en verskille onderstreep. Die poging van hierdie feministe is afgestem op alle vorme van onderdrukking. Vroue van kleur het ook hul ontevredenheid uitgespreek gedurende die derde-golf-feminisme. Die feminisme van vroue van kleur word gekenmerk deur verskeie kwessies en talryke intellektuele standpuntinnames wat neerslaga vind in verskillende terme, soos Afrika feminisme of ‘womanism, sê prof. Pretorius.

Afrika-feminisme dui protes aan teen die wit/westerse geskiedenis en die wit/westerse dominansie binne feminisme. Afrika-vroue het besef dat hul onderdrukking verskillend is van dié van wit vroue en daarom is ‘n ander proses van bevryding nodig. Die Westerse feministiese praktyk om swart vroue by die bestaande feministiese ontologie te voeg, is nie voldoende nie omdat hul unieke ondervindings van slawerny, kolonialisme, onderdrukking deur mans en armoede nie uitgedruk word nie.

‘Womanism’ het tot stand gekom as gevolg van ‘n eksplisiete rassekritiek teen feminisme. Dit is ten gunste van die positiewe uitbeelding van swart mense. Dit word gekenmerk deur kulturele kontekstualisasie, die sentraliteit van die gesin en die belangrikheid daarvan om mans in te sluit.

Die geskiedenis van vroue in Suid-Afrika is verwant aan hul geskiedenis van onderdrukking as gevolg van patriargie. Vroue van verskillende rasse, kulture en klasse het patriargie op verskillende wyses in en variërende mate van erns ervaar. Onder voor-koloniale patriargie het vroue min sê gehad oor huwelikskeuses omdat mans dié besluite gedomineer het.

Die Nederlandse en Britse patriargale erfenis het neerslag gevind in die ideologie van die volksmoeder. Onderwyl dit veral manlike skrywers was wat die beeld van die vrou as versorger en tuisteskepper bevorder het, het vroue self ook hieraan ‘n aandeel gehad, sodat die volksmoeder volwaardig deel geword het van die Afrikaner nasionalistiese mitologie. Alhoewel middel- en werkersklas vroue met dié beeld geïdentifiseer het, het nie alle Afrikaanse vroue die ideologie aanvaar nie.

Onder die Victoriaanse erfenis was Britse vroue beperk to die private eerder as die openbare lewe. Die skeefgetrekte onderrigsisteem wat vroue in huishoudelike loopbane gekanaliseer het, die mag van mans oor hul vroue se eiendom en ‘n tekort aan toegang tot mag en geld het verseker dat vroue by die huis gebly het.

Wit Engelssprekende-vroue het die grootste geleentheid gehad om patriargie uit te daag vanweë hul toegang tot onderwys en die blootstelling aan liberale waardes, sê prof. Pretorius. Liberale vroue soos Helen Joseph en Helen Suzman het ‘n belangrike rol gespeel om in 1930 stemreg vir wit vroue in Suid-Afrika te verseker en het voortgegaan om ‘n rol te speel in die bevryding van swart vroue gedurende die vryheidstryd.

Die feminisme wat onder swart vroue ontwikkel het, was ‘n erkenning van die gemeenskaplike stryd met swart mans om die verwydering van die juk van eksterne onderdrukking en eksploitasie. Swart vroue in aktiewe en onafhanlike politiese rolle het tegelykertyd mans se aannames omtrent hul meerderwaardigheid asook die rassewette van die staat uitgedaag. Daarom kan ons sê dat die feminisme wat hier ontwikkel het, te voorskyn gekom het as gevolg van vroue se betrokkenheid by en toewyding tot nasionale bevryding, sê prof. Pretorius.

Institusionalisering is nie herlei tot magsvoordele nie, want gelykheid is nie in beleidsprogramme geïnkorporeer nie. Die hervestiging van sleutel aktiviste van die vrouebeweging in die regering het die stryd om genderbillikheid verander na ‘n projek wat deur die regering gelei word, sê prof. Pretorius. Ongelukkig word terreine van verandering buite die grense van die regering verwaarloos. Dit kan slegs aangespreek word deur ‘n aktiewe en feministiese stem in die burgerlike samelewing.

“Dit is my oortuiging dat formele instellings vir vroue binne die staat oor die lang termyn slegs effektief kan wees indien daar ‘n effektiewe feministiese vroue-beweging buite die staat in stand gehou word wat die grondslag waarop sosiale beleid gevorm word, kan uitdaag en bevraagteken. Daarom, A luta continua (die stryd duur voort),” sê prof. Pretorius.

Mediaverklaring
Uitgereik deur: Lacea Loader
Mediaverteenwoordiger
Tel: (051) 401-2584
Sel: 083 645 2454
E-pos: loaderl.stg@mail.uovs.ac.za
2 November 2004

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