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12 August 2021 | Story Leonie Bolleurs | Photo Supplied
Tinus Viljoen (second from the left) is responsible for waste management at the university. Here he is pictured at the new chemical waste facility on the western side of the Bloemfontein Campus. With him, on his left, is Nico Janse van Rensburg, Senior Director, University Estates; Prof Danie Vermeulen, Dean of the Faculty of Natural and Agricultural Sciences; and on the far right is Benedict Mochesela, officer at University Estates.
A new chemical waste facility on the western side of the Bloemfontein Campus started functioning in July 2021 and will enhance the safe storage of hazardous materials on campus.

Since the safety of its staff and students are a key priority for the university, as stipulated in its strategic plan, a facility such as this plays an essential role in reducing any health risks and even the possibility of an explosion.

Tinus Viljoen, a Lecturer in the Department of Genetics, concurs that this facility makes the university a safer place because there are less toxic and flammable waste lying around in the labs. 

Besides his role as lecturer, he is responsible for waste management, including the collection of hazardous waste internally, classifying it, and arranging for it to be collected by accredited waste companies. 

A safer space

Waste previously stored in the Genetics Building is now kept at the new facility. Viljoen is of the opinion that this new space is safer because fewer students and staff have access to the western campus. “The chemical waste tends to smell, and on this part of the campus it is out of the way,” he says.

He also says that it helps to have a central place to store the waste, because of logistical reasons. “It makes the overall waste management easier.”

It is mainly inorganic and organic liquid/solid waste, contaminated glass, contaminated solids (e.g., filter paper and gloves), acid waste, and expired chemicals that are stored at the facility. 

This facility makes the university a safer place because there are less toxic and flammable waste lying around in the labs. – Tinus Viljoen

Adhering to legislation

He explains that he is notified by departments in the Faculty of Natural and Agricultural Sciences when they have waste to collect and that he then collects it on Fridays.

Viljoen continues: “The chemical waste is then classified according to the various waste streams and stored in large 210 l drums. When the drums are full, I contact an accredited hazardous waste company to remove, transport, and dispose of the various waste according to strict legislation, constituting the National Environmental Management Act (Act 107 of 1998), the National Environmental Management: Waste Act, 2008 (Act 59 of 2008), the Hazardous Substances Act (Act 5 of 1973), and the National Road Traffic Act, 93 of 1996 (NRTA).”

“The majority of the waste is transported to a hazardous landfill in Gauteng and the rest are incinerated,” he concludes. 

News Archive

The universal power of music and song to convey the unspeakable
2015-05-07

Philip Miller
Photo: Johan Roux

Spotlight photo: John Hodgkiss

Philip Miller, award-winning composer and sound artist, recently delivered the second instalment of the Vice-Chancellor’s Lecture Series on Trauma, Memory, and Representations of the Past on the Bloemfontein Campus. This lecture series forms part of a five-year research project led by Prof Pumla Gobodo-Madikizela. The series focuses on how the creative arts represent trauma and memory, and how these representations may facilitate the healing of historical wounds.

Disrupting the Silence: The Past and Transnational Memory
In Miller’s lecture, ‘Disrupting the Silence: The Past and Transnational Memory’, he discussed the creative process – and the far-researching effects – of his composition: ‘REwind: A Cantata for Voice, Tape and Testimony’. The production consists of 4 soloists, an 80- to 100-member choir, a string octet, combined with gripping projected images and audio of victims testifying during the Truth and Reconciliation (TRC) hearings.

While listening to those raw recordings, Miller would rewind continually and listen again. In between the sounds of the tape stretching and spooling, sighs, gulps for air, and moments when the speakers lost their speech, a hidden sound world revealed itself. And within these silences lay an entrenched trauma far more profound than the actual words spoken.

Communal remembering
When Miller asked Nomonde Calata how she felt about his using the recording of her heart-rending cry during her TRC testimony, her reply was poignant. For Calata, her cries – taken over by the voice of Sibongile Khumalo during the cantata – were a living memorial to her loving husband. “And it almost felt like a soothing balm to her traumatic loss,” Miller said.

“I believe that a collective body of people singing is a unique symbolic act of communal remembering. But more than that, it is a deep form of identification of our humanity, and allows for some form of catharsis for those testifiers who have attended the live performances. Just as a parent sings a lullaby to calm a crying child, the choir singing reaches those of us who continue to mourn.

“Music and song – and the arts in general – can convey the powerful stories of our nation without fearing to engage with the subject matter,” Miller said. “This I believe is the universal power of music and song: to convey a spiritual dimension to what perhaps is sometimes too graphic and painful to comprehend fully.”

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