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14 January 2019 | Story Eugene Seegers | Photo Anja Aucamp
Study Bug Bites Historian Early
Prof Corene de Wet, South Campus researcher, is a dedicated historian and educator.

From a childhood dream of being a historian, to a decades-long educator and double doctorate-holder, Prof Corene de Wet has led an eventful life. Realising that her undergrad qualification on its own would not get her a job, she completed the Higher Diploma in Education at the then Potchefstroom University for Christian Higher Education. However, “just to buy some time for myself,” she decided to study part-time while teaching in Winburg.

Prof De Wet calls it “being bitten by the part-time study bug.” By 1991, she had obtained her BEd (an honours degree at the time), MEd, and DEd degrees. In 1999, she graduated with a PhD in History. Today, Prof De Wet is still a research associate on our South Campus.

Tremendous milestones and mentors

Dr Lynette Jacobs, co-researcher on several projects, says, “Prof De Wet was the first woman to receive a full professorship in the Faculty of Education, and the first woman in the faculty to obtain an NRF rating. She received her professorship at a time when the academic world belonged to men. She outclassed her peers, rising head and shoulders above the crowd.”

Prof De Wet says her superhero is Prof Daniella Coetzee, South Campus Principal and long-time colleague. “Prof Coetzee is a brilliant academic and organiser. She makes every member of her staff feel special. I am ever thankful that she saw the need for a researcher on the South Campus and that she appointed me in this position,” says Prof De Wet.

“She is a seasoned academic who
still enjoys international recognition.”
—Dr Lynette Jacobs.

Generational history and work ethic

Although much has changed in education since her initial research, Prof De Wet believes that both her doctoral dissertations still bear scrutiny. Regarding the zeitgeist and its impact on the written history of a nation, Prof De Wet says, “We regularly hear many voices today who say that history must be ‘rewritten’. My thesis dealt with exactly that: How different generations of historians wrote histories influenced by the spirit of the time, or by textbooks, or by their own political or world views, or their philosophy on life. Thus, different generations interpret the same events differently.”

During a career spanning more than four decades, Prof De Wet has upheld a strong work ethic. This has enabled her to maintain her C-rating as an NRF researcher. “If one doesn’t dare, if you are too afraid of critique or failure, you won’t get anywhere in academia,” she says, adding, “Criticism is part of academic life. Therefore, take chances, and learn from healthy, constructive criticism.”

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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