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21 June 2019 | Story Ruan Bruwer | Photo Ruan Bruwer
Braam van Wyk
Braam van Wyk, hockey high-performance manager at the University of the Free State, should gain valuable experience with the Ghana men’s hockey team.

Braam van Wyk, hockey high-performance manager at the University of the Free State (UFS), wants to plough back whatever he can at international level.

Van Wyk has been appointed as assistant coach of the Ghana men’s hockey team. It is only a part-time appointment, as they don’t play that many matches in a year. Ghana is ranked 35th in the world.  

He will assist the team in the run-up to the Africa Cup in August 2019, where they hope to perform well enough to get an opportunity to play in the Road to Tokyo qualifier for next year’s Olympic Games. 

Van Wyk currently coaches the Ghana players who are based in South Africa. 

“I see this as an opportunity to develop the players, but also for me as a coach to grow and to coach at international level. I am excited to try and add value. The plan is to implement it here at the UFS,” Van Wyk said.

He is also the head coach of the UFS men’s team since 2016, as well as the astro manager.

Learned a lot from coach dad

According to Van Wyk (32), who studied environmental management, he already started coaching in his first year of studies while he was still playing. He represented the UFS from 2006 to 2009. 

“Between 2010 and 2015, my focus shifted to umpiring and I officiated in 19 internationals of which five involved the Protea men’s team.” 

His father, also Braam, is never too far away for guidance. Braam Sr is an astute coach who stood at the helm of many teams over the years, including the Kovsie men and women. He also coached his son while he was playing for the UFS.

“While I was playing, I used to ask him a lot of questions. I learned so much from him and still approach him for advice. He has so much experience and has achieved so much.”

News Archive

Arts and Social Justice festival brings creativity and academia together
2013-08-28

 

Photo: Linda Fekisi
14 August 2013



Who really benefited from the post-1994 democratic dispensation in the sports arena? What happened to the heroes of non-racial sport? Did the 1992 transition to unification wipe out an entire history of black sport in rugby and replaced it with a sanitized version of the sport?

These are some of the questions film producer Mark Fredericks explores in his thought-provoking documentary film ‘Injury Time’. The film is one of several documentaries screened as part of the second annual Artistic and Social Justice Week, hosted by the Institute for Reconciliation and Social Justice from 19 to 31 August 2013.

Extended from last year's one-week run, this year’s programme is packed with great productions, exhibitions and intellectual encounters celebrating freedom of expression. A highly-anticipated event on the programme is the open-air film screening of the documentary 'Dear Mandela' on Friday 30 August. This film follows the journey of three young people from their shacks to the highest court in the country as they invoke Nelson Mandela's example and become leaders in a growing social movement.

Speaking at the opening of the festival, Prof André Keet, Director of the Institute, said the purpose of the two week programme is to explore new and different ways of understanding social relations. "It’s an endeavour which is crucial to the Institute's objective of confronting the histories, policies and practices that has shaped and constrained the intellectual and social mandate of universities across the country and world."



“The role of art and literature in reflecting on society, has overtaken – in terms of substance, quality and relevance – the function of critical commentators, political analyst, sociologists and philosophers. Artists are, simply put, better political commentators than political commentators themselves. Better political commentators than philosophers, better political commentators than political analysts. Uniquely positioned to engage with social reality, art and literature demand that we experience artistic work as political acts.” Prof André Keet

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