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05 May 2021 | Story Xolisa Mnukwa
Once again, a Kovsie takes the crown for this year’s 2021 Miss Free State beauty pageant.

Rofhiwa Fatima Galatia is a 21-year-old BCom Accounting student at the University of the Free State (UFS), and the newly crowned Miss Free State 2021.
Rofhiwa is also a UFS athlete and co-founder of Immeasurable Women – a nongovernmental organisation (NGO) that is all about women and community upliftment. 

She entered the Miss Free State competition in order to align herself with the pageant’s brands, which aims to empower and support the ideals of an intellectual woman who embodies leadership and wants to foster development in communities. 
“I believe that generational poverty is caused by a lack of a support system,” Rofhiwa remarked.

“My next step is to use this platform to uphold the South African patronage system of the Miss Free State competition. I want to encourage talent and fight food insecurity within our community, and further empower women and the community as a whole by breaking the stigma of limitations and poverty, through soliciting support and participation from business,” stated Rofhiwa.  

She further explained that she believes it is her responsibility to show people that they are immeasurable and that they can be ordinary people with extraordinary dreams. 

News Archive

Kotaro Fukuma - awe inspiring
2008-03-10

On Thursday, 28 February 2008, the Japanese pianist, Kotaro Fukuma, gave a piano recital in the Odeion.

Kotaro provided the audience with a rendition that showed complete technical and interpretative mastery, which Elretha Britz described as a “flawless performance” in the Volksblad.

The performance began with Haydn’s Piano Sonata, Op. 9. It was followed by Schumann’s “Carnival” and three compositions by Kotaro’s fellow countryman, Toru Takemitsu, who passed away in 1996. After a tour though an imaginative landscape of sound in Takemitsu’s compositions, he rounded off his programme with Scriabin’s Piano Sonata No. 3.

The audience not having had enough, were then treated to a Liszt transcription of Schumann’s Lied, Widmung, as an encore.

The concert was well supported by the people of Bloemfontein who went home more than satisfied. In fact, there were standing ovations at the end of almost every work.
 

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