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19 January 2021 | Story Rulanzen Martin | Photo UFS Art Collection
Lucas Sithole, I won’t stop crying (detail), 1987, Iron wood, 70 x 58 x 33cm.

 

Click here to view the online exhibition 

Recent times have brought much uncertainty but one aspect of our modern life which remains a constant is our art. For the past 80 years the art collection at the University of the Free State (UFS) has been a significant aspect for research, teaching and cultural heritage. The current online exhibition called Something Contemporary is testament to that endurance and is open until the end of January 2021.


The exhibition is curated by Angela de Jesus, Assistant Director of the Johannes Stegmann Gallery at the UFS, and artist Teboho Mokhothu, and includes prominent artworks by renowned South African artists. “Noteworthy are the artworks Terra Incognita (1990) by Penny Siopis and I won’t stop crying (1987) by Lucas Sithole,” says De Jesus.  The curated exhibition features a selection of contemporary artworks from the UFS art collection. “The artworks on exhibition are works that were created after the mid-1970s,” says De Jesus. 

Making art collection more accessible 

This virtual exhibition and online tour of the Centenary Art Gallery on the Bloemfontein Campus was put together due to the current restrictions imposed by COVID-19. It also utilises the digital platform for audiences across all the campuses to engage with the collection. “In line with the transformation objectives of the Integrated Transformation Plan (ITP), several projects are currently underway to display artworks in various UFS buildings,” says De Jesus.  


UFS art collection of great significance 

The UFS art collection boasts more than 1 200 art pieces and is a valuable source for research, scholarship, exhibition and education. “The art collection also greatly enhances the cultural life and aesthetic niveau (level) of the UFS and the surrounding region. Cultural collections are an integral part of the societies in which they exist and serve as foundations for collective memory, learning, debate, research and critical thinking.” says De Jesus. 

The gallery also had re-imagined several of its 2020 projects into the digital space. “New exciting projects were also initiated which responded to the pandemic and feelings of isolation, uncertainty, gender-based violence and the digital overload,” says De Jesus. Some of these projects are part of the Programme for Innovation in Artform Development (PIAD), which was sponsored by the Andrew W Mellon Foundation

View some of the projects here: 

Stories in die Wind a short film animation web series about a young girl finding her purpose, based on the Nama story |!hûni //gāres |(The Rain Flower) Die reën blom: /Nanub !Khas. 
WATCH THE ANIMATED SERIES HERE: https://www.storiesindiewind.co.za/

Digi-Cleanse a satirical artwork disguised as e-commerce website that mimics and critiques the contemporary wellness industry and its reliance on marketing and advertising. 
SEE DIGI-CLEANSE HERE: https://digicleanse.co.za/

My Internal Oppression a musical theatrical performance of emotional content dedicated to women who have toiled with internal oppression as a result of the psychological and emotional trauma of gender-based violence caused by intimate partners. 

Sonic Re-Dress a collaborative meeting point between music, visual art, science and art therapy, the project specifically acknowledges the insecurity, fragility and discord within our current global pandemic context, by working with ‘universal’ human emotions.

Imaginary Futures an experimental project of live and participatory experiences with over more than 40 creative practitioners, consisting of sound and film mixing, drawing, animation, puppetry and performance. 

News Archive

Human trafficking research demystifies juju practices
2017-10-28



Description: Human trafficking research  Tags: Human trafficking research

Human trafficking is a practice that exists
in many countries all over the world and
whose victims are sold as commodities
into a life of servitude and sex slavery.
Photo: iStock

Human trafficking is a complex crime that transcends cultural, religious and geographical barriers. It is a practice that exists in many countries all over the world and whose victims are sold as commodities into a life of servitude and sex slavery. 

Prof Beatri Kruger, Research Associate at the Free State Centre for Human Rights (FSCHR) at the UFS, has been exploring research related to the use of “juju” rituals used by perpetrators of human trafficking in South Africa and on the African continent. She joined the Centre for Human Rights in 2017, and was previously a law lecturer at the UFS Faculty of Law

She recently co-wrote Exploring juju and human trafficking: towards a demystified perspective and response in the South African Review of Sociology, alongside Marcel van der Watt of the Department of Police Practice at the University of South Africa (Unisa). 

The research explores juju and forms of witchcraft as a phenomenon, while illuminating some of the multilayered complexities associated with its use as a control mechanism. 

Prof Kruger and Van der Watt’s work is a step towards understanding how the practice of juju brings on a more complicated aspect of trafficking in persons in South Africa and how agencies working to combat this crime can understand it and be better equipped to stop the crime and assist victims. 

The findings of the research confirmed the use of juju as a combination of arcane methods used by Nigerian traffickers as a control measure. The term resonates with most participants, but included interchangeable references to witchcraft, voodoo, muti, black magic and curses. The victims of these rituals included women of black, coloured and Nigerian descent in South Africa. 

Nigerian traffickers operating in and between Nigeria, South Africa and European countries are steadily gaining momentum; it will take a concerted effort for multiple countries involved to take steps within their legal frameworks as well as academic spaces to come together to combat the crime cross-continentally.

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