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06 November 2024 | Story Anthony Mthembu | Photo BORN2SHOOT
inaugural Albie Sachs Prestige Lecture 2024
From the left (back row): Dean of the Faculty of Law, Prof Serges Kamga; Judge of the Supreme Court of Appeal, Justice Nolwazi Mabindla-Boqwana; Deputy Vice-Chancellor: Research and Internationalisation at the University of the Free State (UFS), Prof Vasu Reddy; Project Director of the Albie Collection and Chair of the Albie Sachs Trust (ASCAROL), Vanessa September; and acting Deputy Vice-Chancellor: Academic at the University of the Free State (UFS), Prof Philippe Burger. From the left (front row): Acting Vice-Chancellor of the University of the Free State (UFS), Prof Anthea Rhoda; Emeritus Constitutional Court Justice Albie Sachs; and Chief Justice of South Africa, Mandisa Maya.

The Faculty of Law at the University of the Free State (UFS) hosted the inaugural Albie Sachs Prestige Lecture on the UFS Bloemfontein Campus on 30 October 2024. The lecture – delivered by Emeritus Constitutional Court Justice Albie Sachs – was titled, ‘Who actually wrote the Constitution, and why they gave eleven unelected judges the power to strike down laws and actions of the democratically chosen parliament and president’?

In attendance at the lecture were Chief Justice of South Africa, Mandisa Maya; acting Vice-Chancellor of the UFS, Prof Anthea Rhoda; Judge of the Supreme Court of Appeal, Justice Nolwazi Mabindla-Boqwana; Senior State Advocate, Antoinette Ferreira; Project Director of the Albie Collection and Chair of the Albie Sachs Trust for Constitutionalism and the Rule of Law (ASCAROL), Vanessa September; as well as the Dean of the Faculty of Law, Prof Serges Kamga, among other high-profile guests.

In his opening address, Prof Kamga indicated that the lecture aimed to provide some responses to the core questions about the constitution and constitutionalism in South Africa. As such, Prof Rhoda echoed this sentiment, highlighting that, “when it comes to the events that preceded, surrounded, and followed the drafting and adoption of our country’s constitution, there are few commentators better placed than Judge Albie Sachs”.

The making of the constitution

As part of his lecture, Justice Sachs gave a detailed account of the making of the South African constitution. According to Justice Sachs, a total of 490 members of parliament came together to draft the constitution, which included members of the National Assembly and the Senate. These members had been mandated by 20 million South Africans who wanted a better future. As such, he described that moment as a “huge accomplishment on the part of the liberation movement”.

However, he highlighted that fulfilling this mandate was not an easy task, as it required an enormous amount of thought and mobilisation of legal technology to enable those in power at the time to surrender control of the army, police, and to some extent the economy and law-making, among other aspects. These negotiations resulted in a two-state process of constitution-making, which included the drafting of an interim constitution and the establishment of a parliament that would draft the final constitution.

Justice Sachs indicated that once the constitutional assembly sent the constitutional text to the constitutional court to ensure its compliance with agreed principles, it was found non-compliant in eleven respects, for which they had to find solutions in order for the constitution to be adopted.

As he concluded his address, Justice Sachs underscored his pride in having been involved in what he describes as a wonderfully rich story.

Forging a partnership

Subsequent to the address by Justice Sachs, the Faculty of Law and ASCAROL signed a Memorandum of Understanding (MoU), formalising the Albie Sachs Prestige Lecture as an annual event and allowing further collaboration. In fact, Prof Kamga highlighted that if Justice Sachs was not available to deliver a lecture, the trust would appoint someone in his place. To further solidify this partnership, the faculty was gifted with some of Justice Sachs’ works, including books and other materials, for its library.

Prof Rhoda expressed gratitude for this collaborative effort, saying, “We are grateful to have found such a partner in Justice Albie Sachs and the Albie Sachs Trust. May this relationship continue to blossom and bear fruit – to the benefit of our young leaders of tomorrow.”

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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