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25 May 2020 | Story Dr Ralph Clark | Photo Charl Devenish
Afromontane research area in the Eastern Free State.

Africa could be called ‘the continent of mountain archipelagos’ for the unusual fact that most of Africa's mountains are isolated ‘islands’ rather than linear, continuous mountain systems such as those in Asia (e.g. the Himalayas), Europe (e.g. the Alps), and the Americas (e.g. Rockies and Andes). Even in Southern Africa, where we have the linear Great Escarpment (5 000 km long), this system is so old that it has been breached in innumerable places by erosion into a series of independent mountain blocks.

The result of this mountain disconnection is that Africa's mountains display biodiversity patterns more akin to islands than to mountains: rich, exciting, and unique, and full of very localised and interesting species. Likewise, mountain communities have established and evolved unique cultural ways of life and traditions in their particular mountains – isolated from other groups on other mountains. But in some mountains, internecine warfare and tribal conflict caused mountains to become boundaries rather than welcoming places. This was certainly the case during the Mfecane in Southern Africa, ultimately leading to the birth of Lesotho as the ‘Mountain Kingdom’. Colonialism took this to a new level, and – for most of Africa – mountains became international borders between empires, splitting ethnic groups into several nationalities and marginalising large segments of the population in these new countries. This same geopolitical situation continues today, with major implications for the sustainable management of mountain ecosystem services, natural capital, and socio-cultural sustainability in multinational contexts.

The Afromontane Research Unit (ARU) – a continental leader in African mountain research – seeks to explore these socio-ecological complexities in terms of sustainable development, providing research that can help to secure a positive future for the people, biodiversity, and goods and services provided by Africa's mountains. As part of its mission, the ARU is leading the way in encouraging a multidisciplinary community of practice that will drive a science-policy-action interface for Southern African mountains in decades to come. As virtually all of Africa's water comes from its mountains, this is a critical service to a region increasingly at risk from drought and the socio-political implications of rivers and taps running dry. 

Although the Qwaqwa Campus is the home of the ARU, the ARU is welcoming affiliations from across the UFS and beyond. Should you wish to become affiliated to the ARU, please contact the Director, Dr Ralph Clark at ClarkVR@ufs.ac.za. Visit the new ARU's website 

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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