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25 May 2020 | Story Dr Munyaradzi Mushonga | Photo Supplied
Dr Munyaradzi Mushonga

As we virtually celebrate Africa Month in 2020, it is worth reflecting on the journey of the African university as a reminder of where we are coming from, where we are today, and where we are going. The emergence and development of university education in Africa can be conceptualised in four distinct phases, namely the pre-colonial university (before 1900), the colonial university (1900-c.1960), the developmental (post-colonial) university (1961-c.1980), and the market (entrepreneurial)/crisis-era university (1980-present). If we follow this scheme, with the Coronavirus and COVID-19 in our midst, the African university is entering the fifth phase. Just a week into the pandemic, African universities were already experimenting with various online learning and teaching approaches to keep the academic programme afloat, away from the walled university. 

Higher education on the African continent long antedates the establishment of Western-style universities in the 19th century and is traceable to the 3rd century BC. The oldest university still in existence is Al-Azhar in Egypt, founded in 969 AD. It is regarded as one of the leading Islamic HE institutions in the world today. Not only did the idea of higher learning begin in Africa, but the spread of universities into “Western Europe was mainly through the traffic of knowledge and ideas that flowed across the Strait of Gibraltar from North Africa” (Tisani, 2005:2). 

Colonial universities were a product of the European colonisation of Africa and most of these emerged after the Second World War. Their mandate was to reorient European colonies through the idea of ‘colonial development’ as well as to “cultivate and sustain indigenous elites” moulded along European traditions; elites that would be crucial in maintaining links with the former colonial powers after the departure of the physical empire from Africa (Munene, 2010:400). Thus, colonial universities were among the major instruments and vehicles of cultural westernisation and assimilation, bent on removing the hard disk of previous African knowledge and memory, and downloading into it a software of European memory. Today, the continent remains dominated by universities shaped by the logics of colonialism. It is this resilient colonial university that decoloniality seeks to disrupt and to plant in its place an African university steeped in epistemologies of the Global South. 

Following the retreat of the physical empire, African states established development-orientated universities. It was readily accepted that HE was capable of contributing to the social, cultural, and economic development of Africa. As such, many universities were initially generously funded and supported by the state. However, this commitment only lasted for about a decade or so. The ‘independence’ university was overly concerned with first – ‘Africanising’ the public service, and second – with the anti-colonialist aspiration of taking over and ‘Africanising’ positions within the institution. The more nationalism turned into a state project, the more pressure there was on the developmentalist university to implement a state-determined and state-driven agenda, and the more this happened, “the more critical thought was taken as subversive of the national project” (Mamdani, 2008). Resultantly, the university lost its original mandate and the international policy environment did not help matters, as the World Bank and the International Monetary Fund suggested that ‘Africa did not need university education’ and called for the privatisation of public universities. 

The fate of the ‘developmental university’ was sealed in 1990 when the World Conference on Education for All prioritised elementary education. The increasing frustration with the perceived failure of the ‘developmental university’ on the one hand, and changed Western priorities and the inevitable influence of Western aid and Western academic organisations on the other hand, gave rise to the market (entrepreneurial)/crisis-era university. Since the structural adjustment programmes of the 1980s, many African universities have been under pressure to liberalise, following the retreat of the state in the provision of education. This led to various forms of disputes and contestations (#FeesMustFall is one of them) – contestations centred on the meaning, purpose, and mission of an African university (Zeleza and Olukoshi, 2004:1) in a fast decolonising yet liberalising environment. 

Today, with the Coronavirus and COVID-19 in our midst, one thing is certain – the pandemic will have a lasting impact on all national institutions, the African university included. It is not possible to predict the kind of university that might emerge both during and beyond the pandemic. However, the following questions might help us imagine such a university. What kind of university do we have (now/today)? What kind of university do we want? What kind of university do we need? What kind of university can we afford? These are transhistorical questions that have informed all previous versions of the university. Clearly, the COVID-19 pandemic is sure to give birth to another crisis-era university. While such a university will be dictated by the prevailing socio-economic and socio-political ideologies and landscapes shaped by the pandemic, we should also refuse to allow the pandemic to define such a university for us. The COVID-19 pandemic should only be used as a stage for a ‘great leap’ forward. The pandemic offers the African university a fresh start. Yet, we must, as some Kovsies have already cautioned, guard against the temptation to respond to crises in particularist and isolationist fashions. It is time to overcome. It is time to unite. It is time to grab the bull by the horns. It is time for Africa’s place in the sun. #ONEAFRICA.  

This article was written by Dr Munyaradzi Mushonga, Programme Director: Africa Studies, Centre for Gender and Africa Studies 


News Archive

Artistic development at UFS to transform the face of Bloemfontein creatively
2015-07-02

The 7-metre high ‘Urban Fox’ is one of Alex Rinsler's artworks adding a fragment of the wild to the city of Shanghai in China.

Bold, bright, and beautiful public art sculptures are in the inception phase at the university’s Bloemfontein Campus. Manchester-based public artist, Alex Rinsler, of the Programme for Innovation in Artform Development (PIAD)’s forum for artist development, is to install three enthralling sculptures in the city of Bloemfontein.

The PIAD forum for artist development is an initiative of the Vrystaat Arts Festival, formerly known as the Vryfees, which aims to celebrate art in the Free State by hosting experimental art practices. In its capacity as a PIAD partner, the University of the Free State promotes increased access to, and participation in, culture as a form of human development.

Presenting an artist’s talk titled ‘Urban Safari: Art in public space,’ on the Bloemfontein Campus recently Rinsler introduced himself and his creative ideas to students, staff, and the public at the Johannes Stegman Art Gallery. The talk served as an invitation to the active participation of Bloemfontein citizens in all phases leading to the installations. Dispersed across the Mangaung Metropolitan, the giant sculptures are intended to capture and reflect different aspects of the community’s lived experiences. 

As a public artist based in the United Kingdom (UK), Rinsler has exhibited in cities nationally and internationally, with the intention of bringing a touch of the wild to urban lives. His vision is to witness the development of cities into cultural boulevards, and explore “what we can do to bring back the sense of nature, the wild” by adding new symbolism to urban lifestyle.

“I believe in creating work accessible to the public, which stimulates conversation,” said the Clore Leadership Programme Fellow (University of Manchester) and Founder of Pirate Technics - an artistic practice company.

In 2012, he worked with 31 Master’s students from 24 countries on an icon for global peace named “Under the Baobab” in London. The colourful and magnificent Baobab tree made from pieces of fabric representing distinct cultures told the story of migration to London.

Rinsler is determined that the Bloemfontein “project, similar to the London installation, will create imagery that people will remember.”

Dr Ricardo Peach, Director of the Vrystaat Arts Festival and PIAD, hopes the project fosters diversity while producing a “communal cultural product." 

“What I know about Alex’s work is that he will be working with what he calls a self-selected community, people who are interested in this, and who want to work together to build these sculptures, as part as a process for them to get a sense of where they belong, and their input into the city. It’s about people telling their own stories.”

The public installations are a way of transforming the landscape, and connecting people of “a place like Bloemfontein where communities are often still so divided,” said Peach.

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