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08 October 2020 | Story Motsaathebe Serekoane | Photo Supplied

We need to acknowledge that inherent in opening up spaces that were previously reserved for exclusive inhabitation and use is problematic in the contestation for place and symbolic public representation. Broadening the heritage landscape allows us an opportunity to bridge the existing gaps in the heritage space, in particular, askew representation through monuments and declared sites.

The country’s 2030 Developmental Plan requires South Africa to continuously reflect on progress made since the dawn of democracy in 1994. The scope is big; my focus here is on the heritage landscape. I do not want to create an impression that this matter exists in isolation, the intersectional engagement is imminent. The conversation on heritage is vast. My summary of all I have read and heard is that at stake in South Africa, with the historical legacy of segregation policies, is the competing notion of space, conflicting and often-competing ideological notion of commemoration or memorialisation, and the lack of shared collective memory and meaning of public representation. Effectively we don’t know what to do with our historical text and footprints. 

“A community is divided when their perception of the same thing is divided” …Steve Biko

Three questions 

This is a challenge for the notion of inclusion (aka social cohesion) and a threat to preservation and conservation of the country’s heritage resources material. It is equally important that I bring to your attention related conversations with a position that asserts that forfeiting the past for the sake of the future is perhaps an overly simplistic way of conceptualising and describing how society moves beyond conflict or pain. The argument for imagining inclusive spaces necessitates a paradigm shift in our thinking. The literature argues for a move from multiculturalism to interculturalism because of cross-cultural overlaps, interaction, and negotiation. The interculturalism approach goes beyond opportunities and respect for existing cultural differences, to the pluralist transformation of public space, civic culture, and institutions. In line with this view, reconfiguration of public spaces towards inclusive ends would have to emphasise the politics of recognition and negotiation of difference. So where does this leave us? There are no easy answers. As the country embarks on the process of auditing and spatial identity transformation I put forward the following three questions:
• Whose conception of the past should prevail in the public realm?
• Whose conception of the present should prevail in the current realm for the future?
• How do we balance the old and the new so that we do not dump history?

Sustainable change will require consultation and participation

Advancing change affords interested and affected communities to develop an awareness of layered complexities of our history and intersectional voices (some louder than others), and promotes the practices of collaboration and capacity-building with community members to advance sustainable change. Sustainable change will require, in line with the democratic principles, that the review process acknowledges consultation and participation. Ideally, the audit and review process should be designed to encourage conversation, reflection, and social analysis. The transformation of spatial social milieu should assume collective ownership and management of space founded on the permanent and temporary participation of the 'interested and affected parties', with their multiple, varied, and even contradictory political interests. In the review of the current symbolic landscape for inclusion, the spatial identity transformation must be negotiated. It must be developed from a focal point that understands the interrelationship between space and spatial inscription through the form of street names, symbols, and public art. 

I can’t pre-empt the end of the process, the process should inform the outcome. Should it be that some of the statues are to be “repositioned and relocated”, as also stated in the president's speech, this should not be equated to dumping history/historical dumping. Reposition and relocation are plausible alternative arguments in the spatial reconfiguration discourse. If it is done well it should contribute to the educational programme of the country. It should also be kept in mind that memorabilia are protected by the National Heritage Resources Act (NHRA) No 25 1999. Subsequently, the audit and review will require a nuanced approach guided by the NHRA (including relevant legislation) and leaning towards a process-oriented, person-based approach to allow for agency/agility and new possibilities (cf. SONA pronouncement of imagining the New City). Imminent is a guiding or reference document that draws lessons from review processes demonstrated by, among others, the University of Free State’s review and ultimately relocation of the president MT Steyn statue to the War Museum. I believe the South African Heritage Resources Authority and its Provincial Heritage Resources Authority should guide the process. 

Heritage serves a social and economic function

Just as a footnote, it is prudent that we remind ourselves that heritage, in addition to many things, serves a social and economic function. Although I acknowledge the views that some of the symbols in the public spaces trigger painful memories of the past, losing those will rob the country of its rich narrative that, in line with NHRA, is to be bequeathed to the next generation, but also that can boost the country’s economy through heritage cultural tourism footprints. 

Ultimately, “Our heritage is unique and precious and it cannot be renewed. It helps us to define our cultural identity and therefore lies at the heart of our spiritual well-being and has the power to build our nation. It has the potential to affirm our diverse cultures and in so doing, shape our national character” …NHRA, No. 25 1999

Opinion article by Motsaathebe Serekoane, Lecturer: Anthropology at the UFS.


News Archive

Kovsie artists to rock at Vryfees
2014-06-18

Photo: Conrad Bornman

It is the dead of winter in the heart of the Free State. The Vryfees is laying full steam ahead.

However, the talent that makes of this annual arts festival such a phenomenal success doesn’t only come from outside of our Bloemfontein Campus. This year’s productions will abound with performances by Kovsie staff, students and alumni from our Department of Drama and Theatre Arts.

Behind the scenes, our people will also play a vital role in the achievement and progress of the festival. Prof Luwes is a member of the festival committee and together with Dr Venter and Godfrey Manenye, he also serves on the artistic selection committee for theatre.

Thys Heydenrych, lecturer in the above department, was appointed as the technical manager of this year’s Vryfees. This means that he is in charge of the placement and assigning of venues for productions on campus. All the technical aspects for these venues rest on Heydenrych’s shoulders. For this huge task, he is supported by a team of technical staff which includes mostly students.

Take a look at the list of all our Kovsie artists who are working hard to make the 2014 Vryfees better than ever:

Don Juan onder die Boere
Lecturers: Walter Strydom, Gerben Kamper (director),
Students: Mark Dobson, Michael Garbett, Helet de Wet
Former students: Marijda Kamper (Wynand Mouton theatre manager), Ilne Fourie, Hilletje Möller, Chanmari Erasmus, Michelle Hoffman, An-Mari Loots, Madré van Straten

S(t)out en Peper
Lecturers: Dr Pieter Venter (director), Thys Heydenrych
Former students: Ilne Fourie, Michelle Hoffman

Nag van die Hiëna
Head of Department: Prof Nico Luwes (author and director)
Lecturers: Gerben Kamper, Minette Grové
Former students: Carel Nel, Lindy-Lee Kleynhans, Ilne Fourie, Angelo Mockie (staff member at Student Affairs)
Student: Peter Taljaard (PhD student)

Rondomskrik
Former student: Chrystal-Donna Roberts (currently Pasella presenter and previously on the set of 7de Laan)

Slaaf
Former student: Carel Nel

Te Veel vir ? Coloured Girl
Former students: Angelo Mockie (staff member at Student Affairs), Olivie Sauer

The Bar
Lecturer: Godfrey Manenye (director)
Former students: Angela Edwards, Jane Mpholo
Students: Yoliswa Jacobs and Luandro Carstens

Victoria se Geheim
Lecturer: Dr Pieter Venter (director)
Former students: Chanmari Erasmus, Carel Nel, Gené McCaskill, Michelle Hetzel
Students: Helet de Wet, Marli van der Bijl (NRF Magister Intern), Jana Coetzer, Marnel Bester

Een Kleine Lientjie
Lecturer: Walter Strydom
Former student: Anna Visser (author and director, OFM presenter)
Students: Marli van der Bijl, Charl Henning, Jana Coetzer

For more information on the productions or the Vryfees programme, follow this link:
http://www.vryfees.co.za/

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