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25 March 2022 | Story Anthony Mthembu | Photo Supplied
Bloemfontein Campus Choir
The Bloemfontein Campus Choir singing in front of the Main Building for students in celebration of Human Rights Day.

Students on the Bloemfontein Campus were treated to a lunch-hour music performance by the campus choir – an uplifting musical production led by the indomitable Sibongile Mngoma, conductor of the choir on the Bloemfontein Campus. The performance, which was in celebration of Human Rights Day, took place on 22 March 2022 in front of the Main Building.  “We realised that people were hungry to hear beautiful music and beautiful sounds, and we started these pop-up performances just to revive people’s spirit and to give them hope,” says Lucy Sehloho, Officer: Arts and Culture in the Department of Student Affairs. As such, the staff and students at the University of the Free State (UFS) can look forward to a series of pop-up performances by the UFS choirs, specifically on the Bloemfontein and South Campuses.

One institution, different sounds

According to Sehloho, “the choirs are all running on the same constitution and the same code of conduct”. However, they are slightly different in sound, and this is determined by the audience to whom the respective choirs cater, and the number of members involved in the choir. The Bloemfontein Campus choir is known to cover genres such as rap, trap, classical music, and South African choral music. However, the Qwaqwa Campus choir focuses on choral music and various African sounds, while the South Campus choir manoeuvres through most of the abovementioned genres.

Preparing for life as an artist after university 

It is important to note that the choirs are not just a safe space that encourages expression for young artists. Indeed, for many students it is also the beginning of a career. As such, they are taught lessons about financial literacy and the ability to brand themselves as artists. “One of the things I am teaching the students is how to price and cost themselves,” Sehloho highlighted. In fact, Sehloho argues that a major challenge among young performers when they leave university, is that – because they have never charged a fee for their service – they have no idea how to price and sustain themselves from the money they acquire. Consequently, industry experts are invited to provide insight into the realities of the world for artists once they start working. These industry experts include Dr Jerry Mofokeng wa Makhetha.

Future endeavours for the respective choirs

In addition to these lessons, the choirs have various projects that they are working on. The Bloemfontein Campus choir is currently planning performances for national holidays such as Freedom Day and Youth Day. The choir is also gearing up for a performance of Handel’s Messiah in celebration of Easter. The South Campus is specifically working towards the Network Festival in collaboration with Oranje Girls’ School. Furthermore, the Bloemfontein Campus choir will compete in the Sing for Gold competition in Barcelona this coming October. Once an institutional choir has been finalised, the Arts and Culture team will represent the UFS and the nation at the World Choir Games in 2023.

The main challenge experienced by the choirs

Although the choirs are succeeding in entertaining and uplifting the UFS community, there are still some challenges that hinder their growth to some extent. Racial diversity is one of these barriers. ‘’When someone looks at the choir, they don’t get to see the full picture of who we as the University of the Free State are in terms of diversity,’’ she explains. Therefore, Sehloho notes that the respective choirs are open to students from all walks of life in order to ensure racial and cultural diversity. As such, students who are interested in joining can contact Lucy Sehloho at  SehlohoLP@ufs.ac.za

News Archive

#Women’sMonth: Who am I? Questions of identity among Rwandan rape survivors
2017-08-03

 Description: Michelle Nöthling, Questions of identity among Rwandan rape survivors Tags: Michelle Nöthling, Questions of identity among Rwandan rape survivors 

Michelle Nöthling, master’s degree student
in the Centre for Trauma, Forgiveness, and
Reconciliation Studies at the UFS.
Photo: Eugene Seegers

From 7 April to 15 July 1994, a mass genocide swept through Rwanda after years of Belgian colonial rule that divided the country along ethnic lines. Rape was also used as part of a political strategy to torture and humiliate mainly Tutsi women, and as a means of spreading HIV.

Individual focus
Why is it important to listen to what these rape survivors have to say? Michelle Nöthling, a master’s student in the UFS Centre for Trauma, Forgiveness, and Reconciliation Studies, responds, “We speak of groups – refugees, foreigners, and the like – yet we tend to forget the individuals and the lasting impact trauma has had on each person.”

Narrative exploration
Michelle maintains that we are the product of the narratives around us; things like – how to be a woman, how to dress, speak, or treat others. Her research delves into how these rape survivors see themselves, how they narrate their lives. She also investigates power relations based on gender; for example, how language can be used as a divisive tool.

Rwandan backdrop
In Rwanda, gender roles are deeply entrenched. Traditionally, a ‘girl’ remains such while she is a virgin. Her transition into womanhood is usually marked by marriage and followed by motherhood. But rape disrupts this structure, leading to an identity crisis as these girls are catapulted into motherhood with an unplanned child resulting from a traumatic event.

“We are the product of
the narratives around us.”

Reaching their mid-teens, the children, too, started asking questions about identity or paternity. For those mothers who were finally able to open up to their children, the experience has been mostly liberating – often leading to a closer relationship between parent and child. Michelle intends to interrogate how such significant moments shape the way these women perceive themselves. Research tends to portray these survivors solely as mothers of rape-born children. Michelle, however, seeks to examine their identities more deeply.

“These survivors still bear the heavy burden of being marginalised, stigmatised, and severely humiliated. Despite this, they have developed their own communities of belonging; people with whom they connect, to whom they relate, and to whom they are not ashamed to tell their experiences,” she said.

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