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UFS Language Policy is now available in four languages

13 June 2024 | Story Edzani Nephalela | Photo Supplied

Dr Nomalungelo Ngubane, the Director of the Academy for Multilingualism, is at the forefront of this initiative, championing diversity and inclusiveness for all stakeholders at the University of the Free State.

Diversity in higher education institutions enriches the learning environment, fostering a culture of inclusion and mutual respect. It broadens perspectives, encourages critical thinking, and prepares students for a global workforce by supporting equitable access to opportunities and enhancing all students' personal growth and academic excellence.

The University of the Free State (UFS) has marked a significant milestone in its commitment to linguistic diversity with the official translation of its Language Policy into three additional languages: Sesotho, Afrikaans, and isiZulu. Previously only available in English, the translation of the policy – approved by the University Council in November 2023 – into these languages reflects the university's dedication to inclusivity and recognition of its diverse community.

The collaboration between the Academy for Multilingualism and the Institutional Regulatory Code was instrumental in a groundbreaking initiative: making the Language Policy accessible to speakers of African languages. Spearheaded by the Academy for Multilingualism, this endeavour involved a thorough translation, formatting, and proofreading process.

Dr Nomalungelo Ngubane, Director of the Academy for Multilingualism, emphasised that the availability of the Language Policy in multiple languages is not merely symbolic, but underscores the UFS' values of respect, human dignity, and social justice, as outlined in its Vision130. “This initiative aligns with the university's overarching goal of fostering an environment where all languages are valued and respected. We also hope that the Language Policy will not just be written in different languages but will strengthen the implementation of the policy in various domains of the university to achieve its objectives.

She further explains that the translation project is expected to have far-reaching impacts on how policies are communicated and understood within the university, because it enhances the ability of students, staff, and stakeholders to participate more fully in university life, contributing to a more cohesive and integrated community.

This initiative is a testament to the UFS' commitment to embracing and celebrating linguistic diversity as a fundamental aspect of its identity and operations.

News Archive

Shushing, speaking, politicians, policing

2014-03-18

Prof Pumla Dineo Gqola
Photo: Michelle Nothling

Feminist writer, scholar and previous Kovsie staff member, Prof Pumla Dineo Gqola, recently launched her book at the Bloemfontein Campus. “A Renegade Called Simphiwe” explores the life – and controversy – of singer Simphiwe Dana.

The book tells the story of Dana, a rebellious artist and cultural activist. But it also delves much deeper – into the fabric of our society itself. It questions our expectations and reactions to the things that make us shift in our seats.

The politics of silencing
Artists should not involve themselves in politics. They should stick to what they’re good at. Dana and other artists know this silencing finger being waved at them all too well. It is this mentality that alarms Prof Gqola. “I’m very disturbed by the notion of policing our – especially female – artists.” She pointed out that it is mostly female artists in SA who are put under scrutiny, reigned in and censored. Not only by politicians, though. Our public also quickly steps in when an artist seems to step out of ‘their place’.

The proper place of art
“I’m part of the movement that believes art transforms,” said Prof Gqola. South Africa used to be a fertile ground for protest art. This had an immense impact on political and social transformation. “Then something happened,” Prof Gqola let the words linger. “The arts got divorced from its social transformative power.”

Why has art been publically marginalised?

The question remains.

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