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23 February 2022 | Story Lacea Loader

On the morning of 23 February 2022, some of the entrance gates to the Bloemfontein Campus were blocked by groups of protesting students. The gates were cleared by members of Protection Services and traffic could continue to enter and exit the campus.

Sporadic disruption of classes occurred during the course of the day, with several students being arrested by the South African Police Service (SAPS) for disruption of classes, which is contravention of the interdict.

The disruptive behaviour stems from students’ unhappiness with the response to the memorandum handed to the university management by the Bloemfontein Campus Central Student Representative Council (CSRC) on 21 February 2022. Also on 21 February, a memorandum was handed to the management of the Qwaqwa Campus by the campus’ CSRC. The Qwaqwa Campus was temporarily closed yesterday, following violent protest action this week; the date for the reopening of the campus will be communicated in due course. 

Today’s disruptive behaviour demonstrated by the group of students on the Bloemfontein Campus is condemned and will not be tolerated.

During this week and on numerous occasions before that, the university management has been in extensive engagements with the CSRCs on both campuses; concessions were made where possible, as was demanded in the two memoranda. However, the responses given, and the concessions made by the university were not accepted by the student leadership of the Bloemfontein Campus CSCR in particular, with more demands being made.


Concessions from the beginning of 2022:

To ensure that students register successfully for the 2022 academic year, the UFS has granted a number of financial concessions to students since the beginning of the year. The financial support given was specifically intended to fast-track the registration process of students with outstanding debt, and those awaiting confirmation of funding from the National Student Financial Aid Scheme (NSFAS). 

These concessions included:

  • Allowing students who have previously registered for foundation programmes and those who have continued with mainstream programmes to register without the prerequisite of a first payment. The provision was granted to students who applied with the N+ rule and whose respective foundation programmes are included in the Department of Higher Education and Training-funded list.
  • Permitting students with outstanding debt of up to R25 000 and who await NSFAS funding to register provisionally.
  • The university also allowed conditional registration for first-time entering students, giving those who have applied for NSFAS funding until 28 February 2022 to finalise their registration. First-time entering students, both residential and non-residential, could register conditionally, provided that they pay an amount of R500.

Demands in the two memoranda received from the CSRCs on the Bloemfontein and Qwaqwa Campuses included matters such as private accommodation; emergency accommodation; catch-up plans for students who have not yet registered; a registration threshold increase to R30 000; NSFAS allowances; and the extension of registration for international students without study permits. The Bloemfontein Campus CSRC did not accept the university’s responses to the memorandum.

The university management will continue engaging with the SRC.

Safety measures in place:

The situation on the Bloemfontein Campus is closely monitored. Protection Services is on high alert and continues to work closely with the SAPS to ensure stability on the campus.

 

Issued by:
Lacea Loader
Director: Communication and Marketing
University of the Free State
loaderl@ufs.ac.za

23 February 2022

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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