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01 September 2022 | Story Nonsindiso Qwabe | Photo Supplied
Jaco Theron
Jaco Theron (centre) with his UMS Montélimar rugby club teammates after a match in August.

When Jaco Theron started playing rugby at the age of eight, he never imagined becoming a professional player one day. However, having just completed his first month in Montélimar, France – playing rugby at senior level – Welkom-born Theron said there is no turning back.

Six months into his first year as a Bachelor of Education student at the University of the Free State, Theron was scooped up by France-based rugby club UMS Montélimar on a two-year renewable contract. He relocated in August and said he felt so welcomed by his new team that he started training the same day he landed.

“After the first semester ended, I got a call from my agent who’s based in France and she told me that a club in France was very interested and wanted to sign me,” said Theron.

Theron has his eye on rugby as a long-term career

What is most interesting about Theron’s journey is that rugby was not initially his first love. He was an avid tennis player until the age of 16, after which he decided to focus his attention on rugby. 
“I didn’t choose rugby, it chose me,” he said.

His current club is not his first one. After he completed his matric, he was recruited to play for another France-based rugby club, CS Dinamo in Romania, where he played for a year before returning to South Africa in November 2021.
He said he would like to see himself playing professionally for the next 10 to 15 years. 

“In my current team, and even with the first one, I’ve always played at senior level. During my time with my first time, I was the youngest in the team at age 20, playing against bigger guys who were national champions in their countries. It made me grow up a lot faster.”

Although he only spent six months at Kovsies, he said it was the best six months for him. “Kovsies was exciting for me. After being in Romania, it was good for me academically, socially, and with my sports life. I’ve also built amazing connections.”

Support and a good foundation go a long way

Speaking about the importance of having a good foundation, he gave credit to his high school coach for the role he played in honing his talent and skills. His father Marius was also his biggest role model, he said.

Theron hopes to further his studies through distance learning as he grows his career. He would like to see himself playing for the top leagues and making a name for himself in France, he expressed.

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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