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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

Standing ovation for the UFS Camerata in St Petersburg, Russia
2013-11-26

 
Jan Moritz Onken conducting the Camerata during their performance at the 13th International Conservatoire in St Petersburg, Russia.

The OSM CAMERATA (OSMC), flagship ensemble of the University of the Free State’s Odeion School of Music, received a standing ovation during a gala concert at the 13th International Conservatoire Festival presented on 7 November 2013 in the Glazunov Hall under the baton of Maestro Jan Moritz Onken.

The International Conservatory Festival was founded in 2001 by the St Petersburg Rimsky Korsakov Conservatory and has since then become an annual highlight on the concert calendar of St Petersburg.

For the last thirteen years, the festival has developed as a centre of excellence for artists, lecturers, and music experts who represent higher institutions of music from almost every continent. This forum has introduced more than 200 conservatories internationally, and literally produced hundreds of concerts, master’s classes and lectures. Internationally-acclaimed musicians such as Yuri Temirkanov, Rodion Shchedrin, Saulius Sondeckis, Krzysztof Penderecki, Valery Gergiev, Vasily Sinaisky and Semyon Bychkov, as well as young talented performers on the brink of their international careers, have participated in the festival over the years.

The OSMC presented the artistic director of the festival, Prof Lydia Volcheck, with audio-visual material as an audition and received a formal invitation from Prof Mikhail Gantvarg, Rector of the St Petersburg Rimsky Korsakov Conservatoire, in May 2013. Jan Moritz Onken (who was appointed as the OSMC chief conductor and artistic director for 2012) prepared the ensemble with vigour and discipline. Experienced international OSM alumni and several young international professionals served as mentors throughout the year preceding the event.

The OSMC gave two recitals during the festival – a gala performance in the Glazunov Hall, as well as a concert in the St Petersburg White Hall. For the first concert on 7 November (entitled FOUR CONTINENTS FESTIVAL), the OSMC shared the stage with a piano duo from the Karol Szymanowski Academy of Music (Katowice, Poland), the String Quartet of the Colburn Conservatory of Music (Los Angeles, USA), as well as an ensemble of Japanese Traditional Instruments from the Tokyo University of the Arts (Japan).

After the last reverberating notes of the performance of the Phantom Waltz (a work commissioned by the OSM from the South African composer Hendrik Hofmeyr), a thunderous applause and shouts of bravo exploded! The OSMC responded spontaneously with a kwela improvisation as an encore.

Dagbreek broadcast: http://bit.ly/1evTgR3

 

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