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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

White Horse to bring enchantment to Free State Arts Festival
2015-07-09

White Horse Project: Concept, Jess Oliveiri & Parachutes for Ladies; Project Manager, Mandi Bezuidenhout; Video, Louis Kruger; Costume, Lesiba Mabitsela; Performers, Gali Malebo, Chris Kleynhans, Busisiwe Matutu, Johandi du Plessis, Elrie du Toit.

A University of the Free State (UFS) and Free State Arts Festival initiative, the Programme for Innovation in Artform Development (PIAD/PIKO) has worked together with Australian artist, Jess Olivieri (Parachutes for Ladies), to bring visitors and spectators the fantastical and mythical White Horse. The UFS has served as home for the festival for a number of years, and is pleased to take part in bringing this communal project to the arts community that will gather at the annual festival.

The White Horse project begins Sunday 12 July 2015 at 15:00 at the Tweetoringkerk in Bloemfontein, launching the arts festival, while capturing the interest of many members of the Bloemfontein community as well as that of the UFS. The project itself will consist of about 200 members of the local community coming together for workshops in which they will be “reimagining” the White Horse. Olivieri will lead the workshops, which she also developed, assisted by Gali Malebo.

“The White Horse project sits within the contested nature of the White Horse - it is in this in-between space that new mythologies and narratives will be told. The project addresses, celebrates, reconfigures, and allows space for multiple narratives.  Given the debate on statues and symbols, the White Horse offers an opportunity to re-purpose and re-imagine symbols in Bloemfontein,” said Olivieri.

Photograph by David Goldblatt, Sculpted by Kagiso Pat Mautloa, a memorial to those who died while in the detention of the Security Police in this building formerly known as John Vorster Square, now Johannesburg Central Police Station. 27 February 2012, Silver gelatin print on fibre based paper, 98 x 120cm

The White Horse project is supported by the Australia Council for the Arts, Free State Department of Sport, Arts, Culture and Recreation, SituateART in Festivals, Salamanca Arts Centre, Arts NSW, NAVA, Creative Partnerships Australia and the University of Sydney.

Spectators can also look forward to the work of major artists including David Goldblatt’s photographic exhibition titled Structures of Dominion and Democracy at 20:00 on Monday 13 July 2015 at the Johannes Stegmann Art Gallery. In this exhibition, he has photographed everyday sites that contain historical narratives.

Work from other artists at the Arts Festival include Blowing in the Wind (19:00 on Monday 13 July 2015 in the Centenary Gallery), curated by Carol Brown, which is an exhibition that delves into issues of environmental and human exploitation. Angela de Jesus, curator of the UFS Johannes Stegmann Art Gallery, will be curating, [my] PLEK | PLACE (18:30 on Monday 13 July 2015 in the Scaena foyer), in which the artists explore location, space, site, and/or ownership.

The Free State Arts festival begins on 13 July 2015.

 

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