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23 September 2020 | Story Leonie Bolleurs | Photo Supplied
Zama Sithole

Zama Sithole, a master’s student in Environmental Managementat the University of the Free State (UFS), would one day like to assist communal artisanal small-scale miners (ASM) to legalise their work. Although the ASMs are not involved in turf wars or criminality as in the case of zama-zamas, they are deemed illegal workers.

The prime mining legislation, the Mineral and Petroleum Resources Development Act, makes no provision for subsistence or communal ASM activities. Such miners are therefore considered illegal miners.

“ASM employs more than 20 million people globally and a country such as South Africa, with an unemployment rate of 30,1%, should assimilate this type of mining as a legal form of employment,” says Zama.

“Their only client base is the surrounding communities. Mining, besides government grants, is their only source of income.”

Zama aspires to assist the illegal miners to become legal and reap the benefits of skills and funding to increase their income.

“And guidance from the regulatory authorities will ensure that the communal ASM miners become more aware of environmental management,” she adds.

Zama recently presented her research, titled: Shortcomings of the South African Legislative Framework in Addressing Communal Artisanal Small-scale Mining: A Blaauwbosch Case Studyat the 2020 Environmental Law Association (ELA) Annual Student Conference.

She also received the award for Best Speaker at the conference.

In her research, Zama focuses on Blaauwbosch, a rural township area located south-east of Newcastle in northern KwaZulu-Natal, where subsistence coal and clay opencast mining by community members has been going on for more than four decades.

Environmental degradation

According to the Mineral and Petroleum Resources Development Act, mining is only deemed legal if there is a mining permit, mining right, production right or preferent mining right authorised by the Department of Mineral Resources. Since communal ASMs are unregulated, environmental degradation is rife.

According to her investigation, environmental hazards such as traces of acid mine drainage and poor air quality (due to spontaneous combustion), are localised in the area. This is a deterrent to the surrounding community that has minimal health and safety awareness.

Owing to the fact that communal ASM miners are not assimilated into the legislation, the competent authorities such as the Department of Mineral Resources and Energy and the Department of Water and Sanitation cannot offer mineral regulation and environmental guidance support.

Losing revenue

Zama says government is also losing revenue by not legalising this unique sector. She believes it is important to differentiate between communal ASMs and the ‘zama-zama’ type of mining.
 
She also found that according to the Mining and Minerals Policy (1998), “regulations in respect of mining should be relevant, understandable and affordable to the small-scale miner and should be enforced in a site-specific manner.” ... “Tax and royalty rates, levies, and financial guarantees for rehabilitation should not constrain the development of small-scale operations.”

“However, to date, this has not been realised,” Zama states.

Communal ASM miners thus cannot benefit from government-funded initiatives to upskill them in terms of mining and environmental management.

Making a difference

Zama plans to conduct more research to understand the dynamics of how other countries have legalised this sector and draw learnings from this to determine how it can be applied in the South African context.

“In our country, there is very limited data and hence understanding on communal ASM. This could be one of the reasons why the government cannot make an informed decision on how to legalise this sector,” she says.

News Archive

Odeion: The Fortepiano in the late 18 th century - A lecture recital by John Reid Coulter, Monday, 27 October 2008
2008-10-01

The Fortepiano in the late 18 th century - A lecture recital by John Reid Coulter
Monday, 27 October 2008
Odeion
19:30


with
Deirdré Blignaut ~ soprano
Carmi Nel ~ violin
Piet van Rooyen ~ violoncello
Nicol Viljoen ~ fortepiano

including songs & solos by
W.A. Mozart, F.J. Haydn, C.P.E. Bach
& four Scottish & Irish folk song arrangements
by L. van Beethoven

John Reid Coulter is one South Africa’s leading exponents of historical performance practice. He completed his studies in harpsichord with Jacques Ogg at the Royal Conservatory in The Hague. He has taught at the universities of Potchefstroom, Witwatersrand and Pretoria. John has an avid interest in the building of early keyboard instruments and has built a number of harpsichords and a fortepiano. He has performed as soloist and continuo player in The Netherlands, Norway and Germany. His baroque ensemble ‘Banda di Giovanni’ has premiered a number of works in South Africa, the most recent being the cantata ‘Apollo e Dafne’ by G.F. Handel in 2004 and the Serenata à tre ‘Mio cor, povero cor’ by Antonio Vivaldi in May 2007. John is also well known as an adjudicator at music festivals and as a composer has won numerous awards.

Deirdré Blignaut obtained a BA (Languages) degree from the University of the North West in 1988. She graduated cum laude and was awarded Best Student, Faculty of Arts. She began her career as translator at Transnet and later joined the Department of Arts and Culture as terminologist. In 1995 music become her full-time career and field of study. She studied singing with Prof Werner Nel until 2000 and repertoire with the late Anna Bender currently she studies with Eugenie Chopin. In 2002 she obtained a Performer’s Licentiate cum laude and was invited to participate in the Unisa International Bursary Competition. Deirdre is currently she is working towards a MMus (Performing Arts) through the University of Pretoria. She teaches voice at Pro Arte Alphen Park, lectures Methodology of Singing at the University of Pretoria and was recently appointed voice lecturer at the School of Music, North West University.

The fortepiano used in the concert was built by John Reid Coulter in 1986 and is a copy of a Stein fortepiano ca. 1780.

Admission: Free

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