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11 July 2022 | Story Valentino Ndaba | Photo Pexels
Dr Maramura
Dr Tafadzwa Maramura says she carved her path by remaining focused and resolute on her journey.

The African proverb ‘it takes a village to raise a child’ conveys the message that it requires many people to provide a safe and healthy environment for children. The village gives the child the security needed to develop and be able to realise their hopes and dreams. 

Dr Tafadzwa Maramura believes that the same applies vice versa. “It takes a good child to be raised by a village. You need to understand that the village can only do so much, the rest lies on your shoulders as the child,” she says.

The journey of a child raised by a village
The senior lecturer reflects on the journey that led her to serve in the Department of Public Administration and Management at the University of the Free State. At the age of three, she lost her father, who was an army general in Zimbabwe. Soon after, her academic journey would begin at a boarding school. Her widowed mother then moved her to a mission school due to financial constraints, seeing that she had two more children relying on her for survival. Since her father served in the government, she qualified for a state scholarship, which saw her launch her academic career in South Africa as an undergraduate student. 

“I came to South Africa in 2010 and pursued a Bachelor of Social Science degree in Development Economics at the University of Fort Hare. Once my honours were conferred, I acquired my master’s within a year. Thereafter, I enrolled at the North-West University, where I completed my PhD within two years.”

Dr Maramura was the Vice-Chancellor’s valedictorian for her bachelor, honours, and 
master’s degrees. Graduating cum laude was another way of ensuring that she pays it forward to the village that raised her. Not only was she funded by the Zimbabwean government, but she also received financial aid from South Africa throughout her studies. 

Once a child, now part of the village 
Today, as founder of a foundation based in Zimbabwe, she pays the fees of orphaned and disadvantaged primary school learners. “I wish everyone could adopt a child, pay their fees, buy their schoolbooks – because we only have each other, we do not have anyone else. That’s also part of what I call co-creating.”

The Brightest Young Minds in Africa alumna goes above and beyond focusing on academics, as she believes that “if you are the only one holding the light, everyone else will have to follow behind you to make sure that they can see ahead. However, if you share that light, then it means many more can see, therefore making it easier to solve societal challenges as a collective”.

She argues that the amount of money you spend on lunch could pay a child’s school fees for a term, and the cash that you use to buy a jacket or a pair of shoes, could cover a child’s fees for a month.
Making a difference in the lives of young children is her way of playing the role of the village now that she is an adult. “I make sure that wherever I am, I make an impact in the lives of others.”

Dr Maramura says she plans to make sure that life is better for the next young African female, by setting up a mentorship programme for the next generation of leaders. In addition to that, her goal is to become an associate professor, rise in academic rank, and develop a research unit that can speak to issues of sustainable service delivery.

On how to be a good child 
You do not need to be a figure of authority to make an impact. According to Dr Maramura, all you need is a desire to co-create, and making sure that the public is in a different place after you have left the relevant office you hold or the organisation you serve. “Make sure that you can co-exist, because humans don’t live in a vacuum, we exist among each other.”

Serving the people makes all the difference. She suggests that everyone asks themselves what they are doing for their community, class, or family. 

News Archive

UFS hosts a successful New Music Indaba
2015-08-18

  

Held at the University of the Free State’s Odeion School of Music (OSM), the NewMusicSA’s New Music Indaba 2015 featured works which Clare Loveday described as “breathtaking, discreet, and perfectly balanced.”

Loveday, one of South Africa’s acclaimed music critics and was Composer-in-Residence for the annual Johannesburg International Mozart Festival, attended the Indaba from 21-26 July 2015. In a review of Saturday’s gala concert, she referred to recitals of this nature as an “essential part of the South African musical landscape, providing musicians and composers a space in which to express their world.”

Staff and students of the OSM were extensively involved in facilitating the festivities as a symbol of commitment to South Africa and international contemporary art music. The OSM Camerata under the baton of Xavier Cloete performed two works by South African composer Hendrik Hofmeyr well as a work by young Argentinian composer Diego Soifer entitled Mille Regretz .The festival featured music theory lectures, a variety of workshops, roundtable discussions ,concerts as well as an outreach programme.

Loveday described the highlight of her Indaba experience as “A delicate construction of sounds and silences that drew the listener into a focused and intense sound world,” a highlight created by the visiting German composer, Charlotte Seither’s “Far From Distance” for piano, clarinet, and cello. The concert evening culminated with Diale Mabitsela's "Friday Nights at Six," adding to the spectacular nature of the festival.

Throughout the week, classical chamber works featuring South African New Music Ensemble (SANME), the Choir of Christ Church Arcadia, and the Odeion Vocal Consort were performed and well-received. Bringing the five-day event to a conclusion was a choral mass at the Bloemfontein Anglican Cathedral, featuring an “Agnus Dei” written by George T. King.
 
Douglas Scott, Curator of the 2015 Indaba, reflected on it as a great success, saying that, “most of the participants agreed the event was a wonderful opportunity simply to hear different voices from the composition community juxtaposed with one another.”

From Scott’s perspective, the principal goal was to foster communication between artists with different visions, and to reach out to the local community.

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