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One-room magic: UFS' immersive classrooms redefine learning

29 August 2025 | Story Igno van Niekerk | Photo Stephen Collett

The university is transforming education across its Bloemfontein, Qwaqwa, and South campuses with its pioneering one-room spaces, mirrored across all three locations to deliver cutting-edge, immersive learning. Research for these innovative spaces began in 2023, sparked by a photo from the University of Leuven in Belgium, which the university identified as showcasing Leuven’s advanced classroom setup. Prof Philippe Burger, Dean of the Faculty of Economic and Management Sciences, leveraging a connection there, led a team to explore this technology globally, collaborating with Canada’s X2O OneRoom to make the UFS the first in South Africa – and one of (as far as we know) two in Africa, alongside Kenya – to offer such immersive classrooms.

Unlike Zoom or Blackboard, where online students were often overlooked as small icons, one-room spaces ensure that everyone feels included. Designed for postgraduate training and PhD interactions, these rooms accommodate up to 40 in-person and 40 online participants, with large video camera feeds on screens, reminiscent of the TV programme Small Talk, where children’s faces lined the wall for engagement. Directional audio and personal cameras create a sensory experience, with sound coming from the speaker’s direction and eye contact feeling natural. Angelique Carson-Porter from the Department of Nutrition and Dietetics shared her excitement about a postgraduate session led by Prof Aletta Olivier, Lecturer in the Centre for Gender and Africa Studies: “It feels like you’re right there, even from Pretoria or Ghana. You see everyone, interact, and never miss a beat.”

Gavin Coetzer at ICT Services, a key project leader, highlighted how lecturers struggled with older platforms’ limitations, often only addressing online questions at the end, disrupting the flow. The UFS’ one-room spaces, implemented in the UFS Business School, the Clinical Skills Unit, South Campus teacher training, and Qwaqwa, solve this with breakout sessions and global conference support. While other universities rely on Teams, the UFS’ user-friendly tech, with around 24 screens and ceiling microphones, allows lecturers to focus on teaching.

Staying ahead of tech trends is challenging, but the university is excelling, making education inclusive, engaging, and truly global.

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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