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08 August 2019 | Story Leonie Bolleurs
Zama Zama
Michelle Goliath played a major role in establishing the first ethically sourced, fair, women-owned, artisanal diamond process.

Michelle Goliath, a PhD student in the Department of Urban and Regional Planning at the UFS, has a passion for helping the most vulnerable people in society who have run out of conventional employment options. 

“My research includes ‘Zamaism’ psychology, a philosophy which looks at the contestation of space and rules, how people navigate the illegal when they are faced with desperate choices,” she explains.  

Michelle has been working with approximately 3 000 diamond mining ‘Zama Zamas’ (criminal miners) over the past three years. Together, they negotiated an agreement with private sector mining and public sector stakeholders to include the Zama Zamas as legal artisan miners in the formal mining economy.

One of the highlights of her career so far was being part of a big first: the complete, ethically sourced, fair, women-owned, artisanal diamond process.

Michelle explains: “A rough stone includes the story of the women who dig it from the earth, legally (under permit), ethically sourced. Instead of being exploited, the same women now sell their diamonds for full value to a legal tender house through a legal buyer or directly to the cutter and polisher. The cutter and polisher also train the women to cut and polish the stones themselves. The women then sell the stones to jewellery gold- and silver-‘smiths’ who artisanally craft this into an engagement ring or ‘Wakanda gem spear’, to be sold in the open market locally and internationally.”

She believes these products will become priceless works of art. “Like Picasso paintings, they are each uniquely produced by hand with a story and Kimberley process certificates,” she adds.

The story of the women

This project had a big impact on Elisa Louw, a former street seller and domestic worker. She tells her story: “I was tired of domestic work and decided to work at the mines as a Zama Zama. I began with nothing and had to borrow tools and learn from others.”

Elisa started working in the mines in 2013; in 2014, she found her first 75-pointer diamond which she sold for R1 500 on the black market. “The black market was good then,” she said.

She later recruited other Zama Zamas to register and obtain legal permits for mining. Elisa mined from 08:00 to 12:00 and from 13:00 to 16:00 she recruited people to start a legal mining co-op. “It was difficult then. People did not understand what it meant to be legalised,” Elisa explains.

But she worked hard and at the end of 2016, the Batho Pele Primary Mining Cooperative was established.

However, it was a hard and difficult journey before they were given their permits early in 2017. The mines took their IDs and issued them with eviction letters. “They called us names – terrorists, robbers, rapists, etc. But in a meeting with the South African Police Service, the Department of Mineral Resources, the Sol Plaatje Municipality, and the international Swedish Housing Company, Michelle spoke for us.”

“She represented the Swedish Housing Company and we thank the Lord for sending her to us. She informed all parties that we did not want to fight, but that we were looking for a licence to work. She helped us to obtain our legal permit to mine.”

“It was such a relief when we received the permit. I could go home and sleep without worrying about the safety of the old people and children who are mining.

“The permit changed my life as a woman. My voice is heard; my words count. I am proud of myself,” says Elisa. 

The two cooperatives they created, Batho Pele Primary Mining Cooperative and the Women in Artisanal Scale Mining, have already signed agreements with Canada and the USA for the export of fair-trade-certified gem products.

Blood, sweat and tears

The journey towards this big achievement took two years of literally blood, sweat, and tears. “Society labels Zama Zamas negatively as terrorists. In a way, you become a Zama at heart once you live with people every day who are fighting for economic inclusion. You fight the illegal diamond trade that exploited people as digging slaves. You fight formal mining, which is a difficult sector to enter as a woman. You literally fight others with stones for territory. You fight political fights, land fights, the system at every level, to seek an existence,” Michelle explains.

She believes the mining industry can be a tough environment. “It is exploitative at many levels. It showcases rare talent, but under duress. At artisanal scale it is even worse. The only future women have, is to lead themselves, to create their own fairer system, to redesign a full value chain that allows broader participation,” states Michelle.

News Archive

UFS Odeion School of Music (OSM) launched
2011-09-15

The University of the Free State’s (UFS) Odeion School of Music will be launched at the first Dean’s Concert in the Odeion on the Bloemfontein Campus on Friday, 16 September 2011.

The former Department of Music, in the Faculty of Humanities, has been transformed and will henceforth be known as the Odeion School of Music (OSM). This follows in the path of the corporate transition currently taking place at the university, which aims to reflect the progressive and dynamic striving towards excellence, as endorsed by the UFS Vice-Chancellor and Rector, Prof. Jonathan Jansen, and his management group.
 
Two years ago the faculty formulated a new mission with the aim to become an international faculty of excellence. An important component of it has been to create a pro-active marketing strategy and policy towards internationalisation and curriculum development.
 
The name Odeion School of Music portrays not only an excellent asset in the Free State, but also nationally and internationally. The school’s new name bears the respected Odeion brand and a number of successful and respected ensembles operate under this brand. These include the acclaimed residential Odeion String Quartet, as well as the Music Department’s student ensembles, the Junior Odeion String Quartet, the Odeion Sinfonia, and the Odeion Choir.
 
According to Prof. Nicol Viljoen, the Chairperson of the OSM, the name change was motivated by the following objectives:
  • The idea of a school within the Faculty of Humanities not only reflects an academic profile that does justice to the intention of the Department to reposition itself, but also simulates the current identity of the unit. This encompasses diverse thematic entities not only from an academic perspective, but also from a community and cultural perspective. The unit does this through providing services, which include arts entertainment, the provision of facilities, as well as a strong emphasis on community development.
  • With regard to an international perspective, it provides attractive possibilities not only from the perspective of a marketing and publicity profile, but also with regard to the identity of the unit.  
  • Hypothetically the new name allows more flexibility to complement the profile with reference to newly anticipated developments. These include the application of prestigious international experts as artistic fellows, membership to progressive European, jointly developed degree programmes and curriculum development initiatives, the founding of a chair in Orchestra Conducting, a master’s degree in Arts Management, as well as the incorporation of bio-kinetics in the teaching methodologies of performance practice, to name but a few.
  • From a management perspective it could also consolidate the perspective of scarce skill specialisation.
  • To give momentum to the establishment of the OSM, Mr Marius Coetzee was appointed as Innovation Manager. He is a former Project Manager of the European Degree in International Music Management – a joint degree initiative between three Universities from Norway, the Netherlands and Finland, funded by the EU in Brussels. His aim will be to develop and investigate aspects such as internationalisation, marketing, pro-active recruitment strategies, curriculum development and innovative teaching methodologies.
Mr Coetzee said music conservatories, from both European and American perspectives are managed and maintained as highly successful and substantial brands. From the European perspective some examples include the Sibelius Academy in Helsinki (Finland), the Liszt Academy in Budapest (Hungary), the Grieg Academy in Bergen (Norway) and the former Sweelinck Academy in Amsterdam (Netherlands). Similar to the South African milieu, the majority of music conservatories in the USA and Canada are resident within an academic university.
However, unlike the South African reality, the majority of these institutions have a value-added identity portrayed by a specific name. Such an example is the renowned Peabody Conservatory of the University of Baltimore or the Jacobs School of Music at the Indiana University Bloomington, to name but a few.
 
The Dean’s Concert will highlight performances of students in the school. The concert will probably become a regular event in future Spring Music Festivals.


Media Release
15 September 2011
Issued by: Lacea Loader
Director: Strategic Communication
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: news@ufs.ac.za
 

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