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20 July 2020 | Story Leonie Bolleurs | Photo Supplied
The view from one of the offices in the Marion Island research station, with fresh snowfall in the interior of the island in the background.

Liezel Rudolph, lecturer and researcher in the Department of Geography at the University of the Free State (UFS), is strongly convinced that the Southern Hemisphere’s past glacial cycles will provide valuable insights to help predict and prepare for future climate change. Climate is changing fast and the magnitude of change we have seen over the last 30 years has taken a hundred or several hundred years to occur in the past. 

It is not only temperatures that are rising, but changes in wind patterns, rain cycles, oceanic circulation, etc., are also observed. As we do not know how the earth will respond or adapt to such rapid and drastic changes in climatic patterns, this poses various threats.

Link between landscape responses and climate change

Rudolph focuses her research on reconstructing the past climate of Marion Island. 

She had the wonderful opportunity to visit the island for the past three years with study and project leaders, Profs Werner Nel from the University of Fort Hare and David Hedding from UNISA, she departed on a ship to Marion Island to conduct fieldwork.They published their research findings of fieldwork conducted in 2017 and 2018.  

According to Rudolph, research in Antarctica, the Southern Ocean, and islands such as Marion Island is very important. South Africa is the only African country with research stations that have the ability to explore these regions.

“Marion Island has many landforms that could only have been created by glacial erosional or depositional processes, with glaciers currently absent from the island. To determine when the island was last in a full glacial period, we date the formation ages of these landforms.”

“In the short time we have been visiting the island, it was impossible to notice any drastic changes in the island climate. That is why we use these very old landforms to tell us more about periods before humans visited the island,” she says. 

Rudolph believes that understanding the link between landscape responses and climate change of the past can help to better predict some of the climate change processes that are currently threatening the planet.

“There’s a principle in geography called ‘uniformitarianism’, whereby we assume that the earth-surface processes we observe today, are the same as those that have been active in the past,” says Rudolph.

As scientists, they thus look at evidence of past geomorphic processes (which remain in the landscape in various forms, e.g. residual landforms, stratigraphic sequences, etc.) to piece together what the past climate was like. In the same way, they also use this principle to predict how certain earth processes will change in the future, along with climate changes.

“In return, we understand how the climate and the earth’s surface interact, and we can better predict how the earth will respond to climate change,” Rudolph adds. 

Society to play its part in climate change

In the long run, we as the public should play our part in readying society for the effects of climate change. 

Rudolph says society can play a positive role in terms of climate change by educating themselves with unbiased, scientifically sound information on the true state of climate change and by responding within their own spheres of influence.

“Don’t leave everything up to politicians and policy. As the public, you can start to make progress by assessing the effects that climate change may have on your industry, business or society, and strategise on how to adapt your processes to deal with these changes.”

“Be responsible with our natural resources, reduce your waste, support local businesses that are sustainable, and volunteer at a local environmental protection/clean-up organisation. All the small efforts will eventually add up to substantial change,” she says. 

News Archive

Teaching has always been in opera singer’s genes
2016-12-26

Description: Albertus Engelbrecht Tags: Albertus Engelbrecht 

Albertus Engelbrecht believes that his predecessor
and mentor at the Odeion School of Music ,
Peet van Heerden, prepared him wonderfully for his task
as Vocals lecturer.
Photo: Jóhann Thormählen

He has captivated audiences from Berlin to Los Angeles with his singing talent for 17 years. Yet, teaching has always been in his genes, and as a child Albertus Engelbrecht dreamed about teaching music someday.

Once, when the opera singer stood on the Free State flats during his MMus studies at the University of the Free State (UFS), he knew this is where he would come.

He has been employed as Vocals lecturer at the Odeion School of Music (OSM) since 1 July 2016 and is now ploughing back his knowledge for students he believes have an incredible passion for singing that is not found even in European vocalists.

Concerts in Los Angeles stand out
Engelbrecht was a lyrical tenor at the Landestheater Niederbayern in Passau, Germany, and was working with students as well as professional singers (in Nürnberg and later Passau). However, he was bitten by the teaching bug much earlier. “When I was a student at Stellenbosch (where he obtained his BMus degree at Stellenbosch University), I discovered I had a love for vocals training,” he says.

He has performed all over Europe and worked with famous conductors such as Philipp Augin (Los Angeles Opera). “The most impressive performance was the New Year concerts in Los Angeles, and specifically the concert in the Walt Disney Concert Hall, with fantastic architecture by Frank Gehry, and housing approximately 2 260 people.”

“When I was a student at Stellenbosch, I discovered that I had a love for vocals training.”

Big boots to fill at OSM
He achieved his master’s degree magna summa Cum Laude at the UFS and received the Fanie Beetge prize for the best postgraduate student. He studied for his master’s degree under Peet van Heerden, with Dr Matildie Thom Wium as supervisor.

Following Van Heerden’s retirement, Engelbrecht had big boots to fill. “The most important thing that I learnt from him as mentor was that the instrument of a vocalist is also the body and soul of that individual – to be able to see the human standing, singing before me.”

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