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16 February 2023 | Story Rulanzen Martin | Photo Anja Aucamp
Samson Diamond, Jeanne-Louise Moolman, Prof Anmari van der Westhuizen-Joubert, and Sharon de Kock with the QoP instruments created by luthier Brian Lisus to honour SA’s Nobel peace laureates.

Hope, the viola; Freedom, the first violin; Peace, the second violin; and Reconciliation, the cello, collectively known as the Quartet of Peace (QoP), have found their home at the UFS. The Odeion String Quartet (OSQ) has been made the custodians of this world-famous quartet created by Brian Lisus. The instruments were created by Lisus in 2010 to commemorate the four Nobel peace laureates of South Africa, namely Albert Luthuli, Nelson Mandela, FW de Klerk, and Desmond Tutu. In March 2022, Lisus presented a lecture in the Odeion Theatre to officially present these instruments to the UFS.

Many new performing opportunities 

“The trustees found that justice will be done by making the Odeion String Quartet the new custodians, since they are the only quartet-in-residence at a South African university,” says Prof Anmari van der Westhuizen-Joubert, cellist and Head of the OSQ.

As the custodians of the QoP, it brought many new performing opportunities, both nationally and internationally. “It can also be used in presentations of lectures on all subjects and not only of a political nature. In this way, string quartet music reaches more people than just those who go to concert halls,” Prof Van der Westhuizen-Joubert says. The OSQ consists of Prof Van der Westhuizen-Joubert (cellist), Samson Diamond (violinist and leader of the string quartet), Sharon de Kock (violinist), and Jeanne-Louise Moolman (violinist).

Unique part of UFS identity

The uniqueness of the QoP instruments will be an important element of the OSQ, the Odeion School of Music, the Faculty of the Humanities, as well as the entire UFS community. “One of the plans is to raise money to enable students to come and study with the Odeion String Quartet members at the UFS,” Prof Van der Westhuizen-Joubert says. Another historic moment with these instruments took place in October 2022, when the instruments took centre stage at a concert hosted by Prof Francis Petersen, UFS Rector and Vice-Chancellor, at Constitution Hill in Johannesburg. At this event, the QoP instruments were introduced to the public, important stakeholders, and to guests of the UFS. Other plans include trips to international festivals such as the Ojai Music Festival in the USA in 2023 and the String Quartet Biennale in Amsterdam in 2024.

*This article  first appeared in the Bult Magazine.

News Archive

Award-winning artist and UFS intertwine
2017-06-10

Description: Nomusa Makhubu Tags: Nomusa Makhubu

Nomusa Makhubu’s work will be exhibited for the next
few weeks at the Johannes Stegmann Art Gallery.
Photo: Kara Schoeman

“It is this sense of ownership, or the loss thereof, that I would still like to explore.” Exploring issues of identity, and more particularly, the sensitive issue of representation through the medium of photography, is exactly what Nomusa Makhubu sets out to do in her exhibition entitled Intertwined 2005 – 2017.

The issue of self-representation
This solo exhibition is a survey of Makhubu’s practice as a lens-based artist working mainly with portraiture, performance and space-time politics. Her exhibition includes the series entitled, Trading Lies, Self-Portrait Project, Inquietude, The Flood and In Living Colour.

The exhibition, in association with Erdmann Contemporary, is on display in the Johannes Stegmann Art Gallery at the University of the Free State from 24 May to 23 June 2017. She has exhibited in Africa, Europe, the US, and China.

Throughout this exhibition, Makhubu focuses on the issue of self-representation, but also brings in geographical locations to question the assumed universality and objectivity of time and place.

Not only an artist, but a writer too
As an award-winning artist, academic and a full-time lecturer at Michaelis School of Fine Art at the University of Cape Town, Makhubu is a force to be reckoned with in the art world. She has also contributed her writing to Critical Arts, African Arts, the Journal of African Cultural Studies and Third Text, as well as other book projects and catalogues.

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