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02 July 2019 | Story Valentino Ndaba | Photo Charl Devenish
Prof Tristan McCowan
Palgrave Macmillan is publishing Prof Tristan McCowan’s latest book in August 2019 that addresses the question of higher education and the Sustainable Development Goals.

Scholars began writing about post-development theory in the 1980s. Post-development is a school of thought that is critical of development. It promotes alternative ways of thinking and acting beyond the ideology of development which originated during the Cold War. 

According to post-development theorising, the idea of underdevelopment was conceptualised in order to promise material improvement to the global South in an attempt to slow the speed at which socialism was spreading by fast-tracking capitalist economic growth. 

What does a post-development university look like?

In order to explore models of university development, on Wednesday 26 June 2019, the University of the Free State’s (UFS) South African Research Chairs Initiative (SARChI) in Higher Education and Human Development Research Group hosted Professor Tristan McCowan, Deputy-Director of the Centre for Global Higher Education at University College London, for a seminar on the Bloemfontein Campus.

”A developmental university’s primary orientation is serving society, particularly the marginalised of the community,” the professor explained. Referencing developmental universities established in Africa in the post-independence period, Prof McCowan pointed out that these aimed to develop courses relevant to local agricultural and infrastructure needs. In addition, these institutions conducted applied research with the community, and maintained close relationships with government.

Embracing the process of change

Prof McCowan attested to the flawed nature of the race towards a universal form of development and continuing economic growth. “We need to emancipate ourselves from any notion that countries should all be developing in this same way.” 

He argued that competition in economic and higher education generates inequalities, hence the autonomous development advocated by post-development. This, he claimed, is a promising alternative model of a university which is concerned with achieving but also going beyond the UN’s Sustainable Development Goals. It appears utopian but asks that we imagine alternatives possibilities.

Moreover: “The acknowledgement of higher education in the Sustainable Development Goals has raised crucial questions about whether and how universities can solve environmental challenges, address societies’ wicked problems and promote social justice,” stated Prof McCowan.

Bridging the gap on the ground

He considers the post-development university as one that represents an ‘ecology of knowledges’, with students engaging with indigenous as well as mainstream forms of knowing, challenging disciplinary boundaries. These ways of adapting existing theories to practical problems of the outside world are reflected in the UFs’ Integrated Transformation Plan. 

If transformation is to be advanced in a radical direction as post-development argues, a critical questioning of the current educational landscapes needs to happen. This questioning is welcomed and encouraged at a post-development university.

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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