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03 May 2019 | Story Ruan Bruwer
Lynique Beneke
Lynique Beneke, long jump athlete of the University of the Free State and the national women’s champion seven times in a row, hopes to qualify for the World Championships.

The long jumper, Lynique Beneke, dreams of going to another Olympic Games and jumping over seven metres before she retires.

In between, there is still a World Championship later in the year for which she is trying to qualify. The qualifying standard is 6,72 m, not far from the 6,64 m she achieved at the national athletics championships at the end of April, which earned her a seventh consecutive national crown. At the time, it was the seventh best globally. She will have to qualify in Europe, as the South African season is over.

“With my faith as my biggest support, my mom and I both dreamed about me jumping exactly the same distance of 7,03 m! That is my big goal. I know I can do that,” Beneke (28) said. Her personal best is 6,81 m.

Special bond with coach


She is currently studying Education (BEd Senior and FET phase). “At this moment, I’m focusing on finishing my degree and enjoying my athletics. I want to give my athletics a fair chance, as I am only getting into prime shape now at this age. Once I’m done with athletics, I will focus on a career.”

According to Beneke, a 2016 Olympian and the Kovsie Senior Sportswoman of the Year for 2018, consistency is the name of her game. “I show up, even when I don’t feel like it. I push myself every day. I feel I have so much left in the tank, and that motivates me. All the glory to God.”

She is married to the hurdler, PC (also a Kovsie student). They moved from Gauteng to Bloemfontein at the end of 2017.

“My coach, Emmarie Fouché, was the big influence (coming here). I started working with her at the end of 2015. We work perfectly together; we are both women and have the same work ethic. She understands me. We are very close, and I think that is what makes the difference.”


News Archive

UFS hosts a successful New Music Indaba
2015-08-18

  

Held at the University of the Free State’s Odeion School of Music (OSM), the NewMusicSA’s New Music Indaba 2015 featured works which Clare Loveday described as “breathtaking, discreet, and perfectly balanced.”

Loveday, one of South Africa’s acclaimed music critics and was Composer-in-Residence for the annual Johannesburg International Mozart Festival, attended the Indaba from 21-26 July 2015. In a review of Saturday’s gala concert, she referred to recitals of this nature as an “essential part of the South African musical landscape, providing musicians and composers a space in which to express their world.”

Staff and students of the OSM were extensively involved in facilitating the festivities as a symbol of commitment to South Africa and international contemporary art music. The OSM Camerata under the baton of Xavier Cloete performed two works by South African composer Hendrik Hofmeyr well as a work by young Argentinian composer Diego Soifer entitled Mille Regretz .The festival featured music theory lectures, a variety of workshops, roundtable discussions ,concerts as well as an outreach programme.

Loveday described the highlight of her Indaba experience as “A delicate construction of sounds and silences that drew the listener into a focused and intense sound world,” a highlight created by the visiting German composer, Charlotte Seither’s “Far From Distance” for piano, clarinet, and cello. The concert evening culminated with Diale Mabitsela's "Friday Nights at Six," adding to the spectacular nature of the festival.

Throughout the week, classical chamber works featuring South African New Music Ensemble (SANME), the Choir of Christ Church Arcadia, and the Odeion Vocal Consort were performed and well-received. Bringing the five-day event to a conclusion was a choral mass at the Bloemfontein Anglican Cathedral, featuring an “Agnus Dei” written by George T. King.
 
Douglas Scott, Curator of the 2015 Indaba, reflected on it as a great success, saying that, “most of the participants agreed the event was a wonderful opportunity simply to hear different voices from the composition community juxtaposed with one another.”

From Scott’s perspective, the principal goal was to foster communication between artists with different visions, and to reach out to the local community.

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