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18 May 2022 | Story Nombulelo Shange | Photo Andre Damons
Nombulelo Shange is a Lecturer in the Department of Sociology at the UFS and Chairperson of the University of the Free State Womxn’s Forum.

Opinion article by Nombulelo Shange, Lecturer in the Department of Sociology at the University of the Free State and Chairperson of the University of the Free State Women’s Forum.


Overview of African Union’s role in apartheid resistance 

 

South Africa’s democracy might not have existed today without the sacrifices and support of African states and their citizens who supported the Pan-Africanist ideals of a free and united Africa. Ideals that were pushed by the then Organisation of African Unity (OAU), later named the African Union (AU). Africa Day is a celebration of the formation of the AU, which was founded on 25 May 1963. The political and financial support that the OAU extended to South Africans resisting apartheid differed with the changing tides of the struggle. When the apartheid police were violently crushing student resistance in the 1970s, many fled to different African countries, where the OAU funded their stay. They did the same to support the rise of the armed struggle; uMkhonto weSizwe soldiers were assisted by the OAU, especially when it came to living expense while in exile. They also threw a lot of their efforts into international lobbying for the liberation of South Africa. 

Influential figure in the formation of the OAU, post-independence Ghanian leader and scholar Kwame Nkrumah, said: 
“The independence of Ghana is meaningless unless it is linked up with the total liberation of the continent.”

The OAU maintained this outlook for decades, with South Africa being one of the last African states to gain freedom in 1994, where most gained their freedom from colonial rule between the 1950s and 1970s. There is a long history of how the OAU and various African states fought for our freedom as black South Africans, a history so long that this brief overview does not even begin to illustrate the depth of the solidarity we received from different African countries. 

A xenophobic South Africa

The xenophobic South Africa we find ourselves in today is a huge betrayal of the work and sacrifices of leaders such as Nkrumah and the citizens who backed his dreams of a united and liberated Africa. The colonial governments left many social challenges, and it was not uncommon for them to purposefully destroy infrastructure as they left the colonies. Citizens would have been justified in demanding that the OAU direct its resources and attention solely to the rebuilding of independent African states rather than supporting the anti-apartheid resistance. 

The even bigger betrayal within xenophobic South Africa is that we maintain the colonial borders that were drawn up in the scramble for Africa while the west was determining our value based on the mineral wealth in our land and our importance only as free or cheap labour. When we fight for a South Africa that exists in silos from the rest of the African continent and question the mobility that once existed before the drawing up of colonial borders, then we allow the goals of our colonisers to continue to live and encumber us. We halt the much-needed free flow of life-affirming and possibly lifesaving ideas between us and our neighbours to tackle the many social ills that colonialism has left us with. When we maintain these decisions that were constructed to keep us oppressed and reliant on the West, we strengthen the legacy built on our oppression.  

The self-hate rooted in xenophobic South Africa

A lot of our resistance to ‘outsiders’ coming in is almost always directed at African immigrants, and this is a betrayal of our own identity and sense of self. It shows the deep self-hate that we as black South Africans carry with us and maintains the ‘better black’ narrative usually enforced by whiteness. South Africans are starting to see themselves as the ‘better blacks’ based on oppressive racist reasoning such as colourism, where lighter is perceived as better. We see ourselves as ‘better blacks’ because of our aspirations to be ‘white adjacent’, sounding white, mastering Western culture, looking white, conquering Western languages, etc. 

In his discussion of Frantz Fanon’s psychoanalysis on blackness, philosopher Kwame Anthony Appiah said: 
“Black children raised within the racist cultural assumptions of the colonial system, can partially resolve the tension between contempt for blackness and their own dark skins by coming to think of themselves, in some sense, as white.”
So, if you do not fit these categorisations, you are seen as dangerous, unsophisticated, ugly, or uneducated. You mirror the false stereotypical ideals of blackness or the blackness we have been taught to run from or conceal. African immigrants coming into South Africa tend to be perceived as not ‘white adject’ enough and end up being victimised on those and other grounds. Another dangerous dimension is ‘tribalism’ – if you can’t or don’t adequately assimilate to South African culture or speak the languages because you are an ‘outsider’, then you are victimised or further excluded. 

Drawing comparisons between xenophobic South Africa and the Rwandan genocide

The Rwandan genocide is one of the most dangerous illustrations of what happens when these two systems of oppression come together. The genocide took place in 1994; within a few months, the conflict claimed the lives of 800 000 Tutsis who were killed by the Hutus. Many issues sparked the genocide – ‘tribalism’ and the desire to be ‘white adjacent’ were just some of the reasons. The Tutsis were the favoured minority by the Belgium colonial government. When Rwanda gained its independence, the Belgium government transferred much of the political and economic power to the Tutsis, because they were believed to be closer to whiteness and therefore superior to the Hutus. Vulgar racism classifications, which were considered scientific knowledge, were used to draw this conclusion. The Tutsis were seen as having more Western features, such as sharper, smaller noses, being taller, etc. Rwandans internalised these oppressive classifications and it created tensions that eventually sparked the genocide. 

South Africa’s frequent violent xenophobic outbursts are not too far removed from the Rwandan history. The emergence of violent groups such as Operation Dudula, which spreads hatred on social media, is reminiscent of the anti-Tutsi propaganda that Hutus spread through radio in Rwanda before and during the genocide. Superficial categorisations such as skin colour are usually used to determine who is South African and who is not. Often South Africans end up also being attacked in the process, because the idea that South Africans do not have dark hues is a false social construct. Like Rwandans, we are uncritical of dangerous black constructs created by whiteness. And like the Hutus, we scapegoat the challenges created by colonialism and apartheid and which our government fails to adequately address. We blame our poverty, rising unemployment, and other social ills on African immigrants, who are also experiencing dehumanising abuses in workplaces that see them as easily disposable, while also navigating a violently xenophobic South Africa. 

This goes against the Pan-Africanist dreams of important leaders like Nkrumah, while distracting us from the problems that really matter, such as land, the economy, access to dignified work, health care, education, etc. These are all structures still largely owned or controlled by white beneficiaries of colonialism and apartheid in South Africa. So, while we attack African immigrants for low-skilled work and opportunities that are not enough to go around even without the presence of immigrants, patriarchal whiteness maintains its dominance and control over our land, economy, and our sense of self.

News Archive

Top-class musicians appointed in UFS Odeion String Quartet
2008-11-02

 

From the left are: Denise Sutton, first violinist and leader of the string quartet, Sharon de Kock, second violinist, Jeanne-Louise Moolman, violist, and Anmari van der Westhuizen, cellist. 
 Photo: Dries Myburgh

 The University of the Free State (UFS) has recently appointed four acclaimed, top class musicians in its Odeion String Quartet. The quartet, which was established in 1991, is the only resident quartet at a South African university.

The new members who have been appointed are: Denise Sutton, first violinist and leader of the string quartet, Sharon de Kock, second violinist, Jeanne-Louise Moolman, violist, and Anmari van der Westhuizen, cellist. Anmari is the latest addition to the quartet.

Denise Sutton is well-known, inter alia, as longtime concert master of the PACT orchestra, as leader of the Rosemunde Quartet, for her involvement with the Chamber Orchestra of South Africa (COSA), and as a inspiring teacher at the University of Pretoria.

Jeanne-Louise Moolman has about twenty years experience as principal violist of professional orchestras in Gauteng and was leader of the violas in the Johannesburg Philharmonic Orchestra and COSA. She was also a founder member of the Rosemunde Quartet.

Sharon de Kock, formerly from Cape Town, studied at the University of Cincinnati, played in symphony orchestras in Peru, Costa Rica and the USA, and was a violin teacher in Mexico and Costa Rica until her return to South Africa in 2007.

Anmari van der Westhuizen, formerly from Stellenbosch, is one of the most sought-after cellists in South Africa, has been the conductor and director of the UCT String Ensemble since 1999, and spent eight years as soloist and chamber musician in Europe from 1988-1996.

The new quartet will be launched at a concert on 6 November 2008 in the Odeion on the Main Campus in Bloemfontein.

The new appointments follow after three former members of the quartet – Jürgen Schwietering, John Wille and Abrie de Wet – retired or left Bloemfontein at more or less the same time. Michael Haller, longtime cellist of the quartet, will also be retiring at the end of 2008. These developments mean that the Odeion String Quartet is literary brand new.

The new appointment creates exciting new opportunities for learners and students to be taught by excellent lecturers at the music department of the UFS. The new players also strengthen the Free State Symphony Orchestra significantly, since they will fill the four principal positions in the strings.

“The Odeion String Quartet is a flagship of the UFS and it symbolises our commitment to the arts. It also plays an important strategic role in the development of symphony orchestra music and classical music training in the Free State. It is an essential part of UFS regional collaboration with e.g. the Free State Symphony Orchestra, the Mangaung Strings Programme, the Free State Musicon, the Free State provincial Department of Arts and Culture and Pacofs.This is why a real attempt was made to obtain top class musicians, to attract the best in the country. We are pleased that such a strong group could be appointed,” said Prof. Frederick Fourie, chairperson of the String Quartet’s management committee and outgoing Rector and Vice-Chancellor of the UFS.

Most string quartets abroad are affiliated with a higher education institution, which enables a higher level of playing as there is more time for preparation and to study the repertoire. “We appreciate the university’s confidence in us and for the opportunity to explore the intricacies of ensemble playing. We hope that we can produce inspiring performances for our audiences and students,” said Denis Sutton, new leader of the string quartet.

Abridged CVs

Denise Sutton studied at the University of Stellenbosch (US) and obtained the degree B.Mus. with distinction. After this, she studied in Amsterdam with Theo Olof and Nap de Klijn, as well as in London. She was leader and second violinist in the Scottish Chamber Orchestra and did a successful audition for the English Chamber Orchestra. In South Africa she had a long career as concert master and leader of symphony orchestras. From 1980 she was concert master of the TRUK Orchestra for almost twenty years and from 2000 until 2005 she was member of the Johannesburg Festival Orchestra and the Chamber Orchestra of South Africa (COSA). She was also a founding member and leader of the Rosamunde String Quartet, one of the leading string quartets in the country. Denise had a very successful part-time teaching practice at the University of Pretoria (UP) and at a number of schools. She was also involved in postgraduate training. Her students include various competition winners and a number of them are playing professionally.

Jeanne-Louise Moolman studied at the UP under Prof. Alan Solomon where she obtained the B.Mus and B.Mus.Hons. degrees with distinction. She won among others the ATKV Forté and the Oude Meesters competitions and in 1985 she was the first winner of the prestigious 75th Commemorative Prize of the University of Natal. She has about twenty years experience as principal violist of various professional orchestras in Gauteng. Until her appointment at the UFS she was leader of the viola section in the Johannesburg Philharmonic Orchestra and COSA. She is an experienced chamber musician who regularly performs in various combinations with some of South Africa’s leading musicians. This includes Gerard Korsten, Phillipe Graffin, Jürgen Schwietering, the pianists Lamar Crowson and Albie van Schalkwyk, as well as clarinet player Robert Pickup. Jeanne-Louise was also a founding member of the Rosamunde String Quartet. She lectured on a part time basis at the UP and the Pro Arte Music School.

Sharon de Kock obtained the degrees B.A. Mus. and M.Mus. at the College-Conservatory of Music (CCM) of the University of Cincinnati in the United States of America (USA) in 2002 and 2004 respectively. Some of her teachers include the well-known concert violinist Chee-Yun Kim, Prof. Kurt Sassmannshaus and Piotr Milewski, all alumni of Julliard. From 2004 to 2006 she was violinist lecturer at two universities and a music conservatorium in Puebla, Mexico. She was also violin lecturer at a music school in Costa Rica and was associated with the Hugo Lambrechts Centre in Cape Town since 2007. Her orchestra participation includes among others the Opera Orchestra in Trujillo, Peru, the Sinfónica Nacional de Costa Rica in Costa Rica, as well as the Kentucky Symphony Orchestra, the Richmond Symphony Orchestra and the Dayton Philharmonic Orchestra. She also participated in the Luca Music Festival in Italy, the Grandin Music Festival in Portugal, the Pacific Music Festival in Japan and the Aspen Music Festival in the USA. Sharon performed regularly abroad as soloist and received various awards. This includes among others the CCM chamber music competition 2003 and the Baur Orchestral Competition and Heermann competition winner for violin at the CCM in 1995. In 1990 she won the first prize in the Sanlam competition.

Anmari van der Westhuizen was the winner at several national competitions such as the Forté and Oude Meester Competitions and in 1985 was the first winner of the prestigious University of Natal 75th Anniversary Prize. She is today one of the most sought-after cellists in South Africa. Anmari, a cum laude graduate of the Stellenbosch University, was awarded the Grosses Konzertdiplom with distinction at the Mozarteum in Salzburg and the Konzertexamendiplom at the Hochschule für Musik in Cologne, working under Heidi Litschauer and Maria Kliegel respectively. During her stay Europe from 1988 to 1996 she appeared as soloist and chamber musician in such groups as the Koehne String Quartet in Vienna, also appearing at international festivals in Austria, Italy and Spain. Anmari has made several CD recordings. Since 1999 she has been the conductor and director of the UCT String Ensemble. A founder member of the UCT Trio, the Collage Ensemble and I Grandi Violoncellisti, Anmari still performs regularly throughout South Africa, and is invited by the Austrian Composers Union as solo cellist.

Media Release
Issued by: Lacea Loader
Assistant Director: Media Liaison
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: loaderl.stg@ufs.ac.za  
29 October 2008
 

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