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17 October 2023 | Story Nonsindiso Qwabe | Photo Nonsindiso Qwabe
Mokitlane Manyarela
Mokitlane Manyarela reflects on his 41-year journey with the UFS Qwaqwa Campus

He has seen the many changing faces of the Qwaqwa Campus, and four decades later, Mokitlane Manyarela says he would not have it any other way.

Fondly known on campus as ‘Ntate Manyarela’, he has been with the campus for 41 years, having started on 1 January 1982 at the ripe age of 18 years. Manyarela recently received a long-service award for 36 years of service, dating back to when the campus moved to its current location from where it started at Lere la Tshepe in 1982.

He recalls arriving at the campus offices in town in 1982 seeking employment, as there were no “buildings or campus” back then.

“I started working as a general worker because there was nothing else to do. All the university’s content would come from Turfloop in those days. As time went by, I worked in the reprographic section, printing exam papers. That was my first official job until the campus moved in 1988 to where we’re now located. All the buildings that are now filling this campus were constructed right in front of my eyes,” he said.

He went on to work for various departments on the campus, such as procurement, cashiers, and finance. In 2007, he joined the transport department, and that is where he is still working as an assistant officer. “What’s made me stay this long is not getting into fights with anyone and always following instructions given to me. I’ve worked under many different bosses, and I believe that none of them have anything negative to say about me. Therefore, I can say I’ve never had a reason to leave because everything I’ve done, I have done wholeheartedly.”

Manyarela said the university also afforded his wife and children the opportunity to obtain their degrees, which is something he considers a huge achievement. “All that I have has been achieved at this institution. It’s been a wonderful journey. I have no complaints, and I am content. I’ve reached my old age here. I don’t know any other job or work environment; this place has become like home to me, and I’m prepared to still give my all to this university, even though old age is now catching up with me.”

News Archive

Anxiety about losing a loved one to death culminates in runner-up prize at Sasol New Signatures Art Competition
2014-09-15

 

Adelheid Camilla von Maltitz
Photo: Supplied

Adelheid Camilla von Maltitz – a lecturer at our Department of Fine Arts – has been awarded the runner-up prize at the Sasol New Signatures Art Competition. Her sculptural piece, ‘Bodies’, explores the process of mourning and loss and the grey areas between life and death.

The Sasol New Signatures Art Competition is recognised as the country’s longest running art competition. The competition has kick-started the careers of some of South Africa's most prominent artists. Last year, the competition was won by another Kovsie, Dot Vermeulen.

“Personally, I experienced an intense and consistent sense of anxiety towards death, specifically an anxiety towards losing a loved one due to a road accident. This led me to wonder how an individual copes with substantial loss. During my practical research it became obvious that there are many contrasts existing in the mourning process, contrasts related to anxiety and peace,” said Von Maltitz.

The piece encourages contemplation on three levels.

At the first level, two boxes lie on the floor covered in heaped earth and ash which suggests a buried body: closed, powerless and dark. Here, Von Maltitz invites the viewer to use this space to contemplate the process of mourning and loss.

The second level offers fragmented apparitions displayed in the light boxes, commenting on the ‘grey area’ between life and death.

At the third and final level, the viewer stands between the light boxes: open, alive and powerful.

Von Maltitz is currently reading for her PhD in Fine Arts at Kovsies. Commenting on her research, Von Maltitz said that she is “also interested in comparing the use of repetitive actions – such as revisiting a grave, which seem present in the mourning process – to the use of repetition in sculptural installation.” She is also interested in the relationship between these repetitions and anxiety and relieving anxiety, either permanently or temporarily.


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