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05 September 2022 | Story Anthony Mthembu | Photo Supplied
Moleboheng Moshe-Bereng
Moleboheng Moshe-Bereng, Senior Marketing Officer in the University of the Free State School of Financial Planning Law.
Moleboheng Moshe-Bereng, Senior Marketing Officer in the University of the Free State School of Financial Planning Law, was honoured at the Southern Region Women in Media Awards (SRWIMA) for her outstanding and inspiring work to encourage excellence in academics. “It was an absolute surprise and honour, because at times you don’t think that people out there take note of you or the work you do,” expressed Moshe-Bereng.

The award ceremony, which was hosted at the President Hotel on 27 August 2022, was well attended by women doing inspiring work in various fields. Moshe-Bereng, who was invited to speak to women about financial planning at the awards ceremony, was surprised by one of two platinum awards for her continuous work to encourage and inspire academic excellence. “I am still overwhelmed, because even on the different platforms I use to speak about education, I do so out of passion and I don’t realise how many people are actually listening,” she stated. What is more, the recipient of the other platinum award is radio legend Mamontha Modise-Motaung, who Moshe-Bereng considers the voice of her entire childhood. “I was shocked, humbled, and honoured to realise that Mamontha Modise-Motaung was the other recipient of the platinum award.”

The importance of the Southern Region Women in Media Awards 

The Southern Region Women in Media Awards (SRWIMA) was established by the Free State Empowerment Institute for Women in 2021 as a means to develop and empower women in the media. “The awards are about acknowledging the achievements of women in the media industry who are not always the face of things – such as scriptwriters, camerawomen, technicians, and marketers,” Moshe-Bereng explained. Furthermore, she maintains that these awards are imperative, because they allow women to see other women doing inspiring things. “One of the speakers runs a school where she teaches and mentors aviation technicians. As a woman, I never thought that there were other women doing things like that; seeing it on a platform like that is incredible,” she stated.

Although the ceremony is grounded on empowerment and development, it is special to Moshe-Bereng due to the fact that it is also based on representation. “It shines a light on what is possible for a female child, but most importantly, a black female child,” she expressed. Therefore, the existence of initiatives such as these is important. She says, “I think we live in a world where, even though the opportunities are said to be there on paper – to achieve things, we compete with each other so much – to a point where we are not always giving each other a pat on the back.”

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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