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23 September 2020 | Story Nombulelo Shange | Photo Supplied
Nombulelo Shange is a Lecturer in the Department of Sociology.

Heritage Day is almost here; it’s time to celebrate all the ‘fluffy’, less threatening to whiteness parts of African culture, braai, and sample weird and wonderful traditional food we’ve never tried before. For one day, we go to work in beautiful colourful traditional attires, put on cultural dance and singing performances, and share it on social media. We will have dialogues on ubuntu and how we should use it to ‘turn the other cheek’ and ignore structural oppression in an attempt to save the failed rainbow nation. What will be missing, and what is always missing, is serious discourse on how side-lined indigenous knowledge can and should be used to address poverty, developmental and ecological challenges, our struggling health-care system, and many other modern and historical challenges that South Africa is faced with. 

Decolonising knowledge systems

#FeesMustFall protests in 2015 and 2016 briefly brought the issue of decolonising knowledge systems and, well … everything to the fore. But since the end of the FMF protests, these discussions have been confined to the university space and are not being heard in other important spaces such as workplaces, churches, healthcare structures, schools, etc. Even within universities, students have the sense that their decolonial agenda has been hijacked and turned into a PR activity that pushes reform and minimal systematic change instead of revolution and a total dismantling. And so, indigenous knowledge ends up being manipulated and moulded to fit the Western context rather than being the foundation of the curriculum. 

The COVID-19 global pandemic has forced us into a precarious space, where we have to rethink almost everything about life, our work environment, how we use technology, how we socialise and interact with each other, how we run schools, how we show caring, and so much more. We have an opportunity here to rethink how we can use this disruption and those that will come in future to advance our cultural and traditional medical practices. So much of Western/modern medicine is already based on the cultural appropriation of African knowledge systems, which we as Africans at times look down upon. The appropriation of African ideas is a manipulation that involves stealing African ideas, presenting them as Western, while convincing Africans that the same practices are inferior. One example of this is the story of Onesimus, the African slave who cured smallpox.

Onesimus’ role in curing smallpox

Onesimus lived during the smallpox pandemic of the early 1700s, which claimed 30% of the lives of those infected. Onesimus was sold to Cotton Mather, a New England minister and author. During the pandemic, Onesimus advised Mather that smallpox was preventable. Onesimus shared the details of a common surgical procedure, which helped to prevent smallpox and many other contagious illnesses in Africa. The procedure involved making an incision on a patient’s arm and exposing them to a small amount of the disease to allow the body to build immunity to the disease in a controlled environment while still under the care of the healthcare provider. In the case of smallpox, it was a small amount of pus from an infected person that was rubbed on the incision of the patient being immunised. Mather then ran human trials on slaves and found this vaccine to be successful. The slaves who formed part of his trials were less likely to contract smallpox, and those who did were more likely to recover.

Just like most important black contributions in history, Onesimus’ role was written from the history books, and the credit was given to Mather. Eventually, scientists researched and explored this method, and their discoveries led to modern-day vaccination medicine and technology that saves millions of lives every year. This and other violent historical erasures has contributed to the systemic racist ways in which we undermine African indigenous knowledge and always opt for Western solutions to health challenges, even in instances where the African solution might be cheaper, more accessible, and more effective. 

Traditional healers possess a wealth of knowledge

Fast forward more than 300 years to 2020, the COVID-19 outbreak and global lockdown. Countries such as China, Russia, the UK, and many others involved in trying to develop a vaccine for the Coronavirus are still exploring similar methodologies to what Onesimus shared with Mather to fight the spread of smallpox. Locally, traditional healers are frustrated because they are being left out of interventions to tackle the spread of the Coronavirus. In an interview with Sunday Independent, traditional healer Zama Ndebele expressed his disappointment over government’s lack of engagement with traditional healers. Ndebele added that their collaboration in creating a cure or vaccine would be useful and that they possess a wealth of knowledge about different herbs and their uses. Traditional healers are still interested in collaboration despite running the risk of experiencing erasure and exclusion from historical and scientific records, in a similar way to how Onesimus’s contribution was undermined.

Often when the discussion around mainstreaming African knowledge systems comes up, some worry that the quality of knowledge will be weakened. But French philosopher Michael Foucault, whose contributions have been instrumental in feminist and revolutionary discourse, reminds us that knowledge is about power. Foucault says even scientific knowledge is socially constructed. Those who dominate use their power to present their cultural ideas as the only objective scientific truth. 

Prioritise and value own knowledge systems

One positive reflection we should gain from the current global pandemic is that we should prioritise and value our own knowledge systems. We need to do better in investing in our cultural identity and indigenous knowledge. We need to ensure that it can be used as more than just gimmicks to attract Western tourists who expect us to ‘perform Africanness’ for their entertainment. African knowledge systems should be built into the way knowledge is produced, the way we run our healthcare systems, how we build new technologies. We can learn a lot from Asian countries such as South Korea who have done this successfully in many social structures, but more noticeably, in their healthcare systems that surpass even some of the best Western healthcare systems. Doing this can also potentially restore black identity and create a sense of pride as we start to see our practices represented in the mainstream and being labelled as important scientific contributions instead of an alternative. This reclaiming can drive us to juxtapose our knowledge systems with other cultures in ways that uplift and advance humanity. With ecological degradation looming and unknown public health crises lurking in our future, African knowledge systems that often encourage sustainability have the potential to save our lives in various ways.

Opinion article by Nombulelo Shange, Lecturer in the Department of Sociology, University of the Free State

 

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News Archive

Top-class musicians appointed in UFS Odeion String Quartet
2008-11-02

 

From the left are: Denise Sutton, first violinist and leader of the string quartet, Sharon de Kock, second violinist, Jeanne-Louise Moolman, violist, and Anmari van der Westhuizen, cellist. 
 Photo: Dries Myburgh

 The University of the Free State (UFS) has recently appointed four acclaimed, top class musicians in its Odeion String Quartet. The quartet, which was established in 1991, is the only resident quartet at a South African university.

The new members who have been appointed are: Denise Sutton, first violinist and leader of the string quartet, Sharon de Kock, second violinist, Jeanne-Louise Moolman, violist, and Anmari van der Westhuizen, cellist. Anmari is the latest addition to the quartet.

Denise Sutton is well-known, inter alia, as longtime concert master of the PACT orchestra, as leader of the Rosemunde Quartet, for her involvement with the Chamber Orchestra of South Africa (COSA), and as a inspiring teacher at the University of Pretoria.

Jeanne-Louise Moolman has about twenty years experience as principal violist of professional orchestras in Gauteng and was leader of the violas in the Johannesburg Philharmonic Orchestra and COSA. She was also a founder member of the Rosemunde Quartet.

Sharon de Kock, formerly from Cape Town, studied at the University of Cincinnati, played in symphony orchestras in Peru, Costa Rica and the USA, and was a violin teacher in Mexico and Costa Rica until her return to South Africa in 2007.

Anmari van der Westhuizen, formerly from Stellenbosch, is one of the most sought-after cellists in South Africa, has been the conductor and director of the UCT String Ensemble since 1999, and spent eight years as soloist and chamber musician in Europe from 1988-1996.

The new quartet will be launched at a concert on 6 November 2008 in the Odeion on the Main Campus in Bloemfontein.

The new appointments follow after three former members of the quartet – Jürgen Schwietering, John Wille and Abrie de Wet – retired or left Bloemfontein at more or less the same time. Michael Haller, longtime cellist of the quartet, will also be retiring at the end of 2008. These developments mean that the Odeion String Quartet is literary brand new.

The new appointment creates exciting new opportunities for learners and students to be taught by excellent lecturers at the music department of the UFS. The new players also strengthen the Free State Symphony Orchestra significantly, since they will fill the four principal positions in the strings.

“The Odeion String Quartet is a flagship of the UFS and it symbolises our commitment to the arts. It also plays an important strategic role in the development of symphony orchestra music and classical music training in the Free State. It is an essential part of UFS regional collaboration with e.g. the Free State Symphony Orchestra, the Mangaung Strings Programme, the Free State Musicon, the Free State provincial Department of Arts and Culture and Pacofs.This is why a real attempt was made to obtain top class musicians, to attract the best in the country. We are pleased that such a strong group could be appointed,” said Prof. Frederick Fourie, chairperson of the String Quartet’s management committee and outgoing Rector and Vice-Chancellor of the UFS.

Most string quartets abroad are affiliated with a higher education institution, which enables a higher level of playing as there is more time for preparation and to study the repertoire. “We appreciate the university’s confidence in us and for the opportunity to explore the intricacies of ensemble playing. We hope that we can produce inspiring performances for our audiences and students,” said Denis Sutton, new leader of the string quartet.

Abridged CVs

Denise Sutton studied at the University of Stellenbosch (US) and obtained the degree B.Mus. with distinction. After this, she studied in Amsterdam with Theo Olof and Nap de Klijn, as well as in London. She was leader and second violinist in the Scottish Chamber Orchestra and did a successful audition for the English Chamber Orchestra. In South Africa she had a long career as concert master and leader of symphony orchestras. From 1980 she was concert master of the TRUK Orchestra for almost twenty years and from 2000 until 2005 she was member of the Johannesburg Festival Orchestra and the Chamber Orchestra of South Africa (COSA). She was also a founding member and leader of the Rosamunde String Quartet, one of the leading string quartets in the country. Denise had a very successful part-time teaching practice at the University of Pretoria (UP) and at a number of schools. She was also involved in postgraduate training. Her students include various competition winners and a number of them are playing professionally.

Jeanne-Louise Moolman studied at the UP under Prof. Alan Solomon where she obtained the B.Mus and B.Mus.Hons. degrees with distinction. She won among others the ATKV Forté and the Oude Meesters competitions and in 1985 she was the first winner of the prestigious 75th Commemorative Prize of the University of Natal. She has about twenty years experience as principal violist of various professional orchestras in Gauteng. Until her appointment at the UFS she was leader of the viola section in the Johannesburg Philharmonic Orchestra and COSA. She is an experienced chamber musician who regularly performs in various combinations with some of South Africa’s leading musicians. This includes Gerard Korsten, Phillipe Graffin, Jürgen Schwietering, the pianists Lamar Crowson and Albie van Schalkwyk, as well as clarinet player Robert Pickup. Jeanne-Louise was also a founding member of the Rosamunde String Quartet. She lectured on a part time basis at the UP and the Pro Arte Music School.

Sharon de Kock obtained the degrees B.A. Mus. and M.Mus. at the College-Conservatory of Music (CCM) of the University of Cincinnati in the United States of America (USA) in 2002 and 2004 respectively. Some of her teachers include the well-known concert violinist Chee-Yun Kim, Prof. Kurt Sassmannshaus and Piotr Milewski, all alumni of Julliard. From 2004 to 2006 she was violinist lecturer at two universities and a music conservatorium in Puebla, Mexico. She was also violin lecturer at a music school in Costa Rica and was associated with the Hugo Lambrechts Centre in Cape Town since 2007. Her orchestra participation includes among others the Opera Orchestra in Trujillo, Peru, the Sinfónica Nacional de Costa Rica in Costa Rica, as well as the Kentucky Symphony Orchestra, the Richmond Symphony Orchestra and the Dayton Philharmonic Orchestra. She also participated in the Luca Music Festival in Italy, the Grandin Music Festival in Portugal, the Pacific Music Festival in Japan and the Aspen Music Festival in the USA. Sharon performed regularly abroad as soloist and received various awards. This includes among others the CCM chamber music competition 2003 and the Baur Orchestral Competition and Heermann competition winner for violin at the CCM in 1995. In 1990 she won the first prize in the Sanlam competition.

Anmari van der Westhuizen was the winner at several national competitions such as the Forté and Oude Meester Competitions and in 1985 was the first winner of the prestigious University of Natal 75th Anniversary Prize. She is today one of the most sought-after cellists in South Africa. Anmari, a cum laude graduate of the Stellenbosch University, was awarded the Grosses Konzertdiplom with distinction at the Mozarteum in Salzburg and the Konzertexamendiplom at the Hochschule für Musik in Cologne, working under Heidi Litschauer and Maria Kliegel respectively. During her stay Europe from 1988 to 1996 she appeared as soloist and chamber musician in such groups as the Koehne String Quartet in Vienna, also appearing at international festivals in Austria, Italy and Spain. Anmari has made several CD recordings. Since 1999 she has been the conductor and director of the UCT String Ensemble. A founder member of the UCT Trio, the Collage Ensemble and I Grandi Violoncellisti, Anmari still performs regularly throughout South Africa, and is invited by the Austrian Composers Union as solo cellist.

Media Release
Issued by: Lacea Loader
Assistant Director: Media Liaison
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: loaderl.stg@ufs.ac.za  
29 October 2008
 

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