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Africa Open student and staff member win HSS Awards Open student and staff member win HSS AwardsLynne Rippenaar-Moses<p style="text-align:justify;">Kyle Shepherd, an award-winning international pianist and composer from South Africa, who also happens to be a Masters graduate (cum laude)  of the Africa Open Institute (AOI) at Stellenbosch University (SU), and AOI staff member, Prof Christine Lucia, have been awarded South African Humanities and Social Sciences (HSS) Awards.</p><p style="text-align:justify;">Shepherd received the HSS Award: Book, Creative Collection and Digital Contribution 2018 and Lucia received the HSS Award: Best Digital Humanities Project for Community Engagement.</p><p style="text-align:justify;">Shepherd received the award for the Best Musical Composition for the film score he composed for the internationally acclaimed film <em>Noem My Skollie,</em><em> </em>based on the true story of former gangster John W. Fredericks which was penned by the former convict himself.  </p><p style="text-align:justify;">“I am incredibly honoured to have received this very prestigious award. As a musician and composer I make music that serves the purpose of communication – with an audience, so to speak. An Award is an absolute plus side to the honour of working on such a great piece as <em>Noem My Skollie.</em><em> </em>I am very thankful for the acknowledgement," says Shepherd who, together with pianist Nduduzo Makhathini, made history by becoming the first MMus graduates in Jazz Performance at SU when they graduated in March 2018. </p><p style="text-align:justify;">Both Shepherd and Makhathini were students of the AOI, an independent music research institute of the Faculty of Arts and Social Sciences at SU that focuses on music, research and innovation. </p><p style="text-align:justify;">Lucia received the award for her project which involved the research, transcription, translation, editing and publishing of the choral music of Bataung clan member Joshua Pulumo Mohapeloa. The Joshua Pulumo Mahopeloa Critical Edition in Six Volumes was written over several years, with the second edition published in 2016. </p><p style="text-align:justify;">In her acceptance speech, Lucia noted that the award acknowledged “… not only…my own work, it acknowledges a very important musical area of South African culture that has been overlooked as a research field - African choral music and the writing of African composition. This award puts not just my project but all the music composed by African composers in the past and the present, laboring away in their homes with little hope of fame or fortune, into the limelight."</p><p style="text-align:justify;">The HSS Awards is hosted by the National Institute for Humanities and Social Sciences (NIHSS) which aims to “advance and co-ordinate scholarship, research and ethical practice in the fields of Humanities and the Social Sciences (HSS) within and through the existing public universities and those to be established or declared in future as public universities". It also focuses on broadly enhancing and supporting the “HSS in South Africa and beyond, as well as to advise government and civil society on HSS related matters" through its programmes which include Doctoral Schools, Catalytic Projects, the African Pathways Programme, and through supporting the Department of Higher Education and Training (DHET) in the implementation of the proposed corrective interventions". </p><p style="text-align:justify;">The awards laud the preeminent creative contributions of academics, curators and artists based at participating South African universities, who are working to advance HSS.Altogether 39 non-fiction books, nine fiction books, 10 creative collections and seven digital contributions, which represented 23 publishers, were received and judged by more than 30 esteemed judges and reviewers.</p><p style="text-align:justify;">“The HSS Awards were born of a strategic intent to build a robust post-apartheid higher education system shaped by an equally spirited HSS, while promoting, recognising and celebrating members of the HSS community who are creating post-apartheid and post-colonial forms of scholarship, creative and digital humanities productions," said Prof Sarah Mosoetsa, the CEO of the NIHSS.</p><p style="text-align:justify;">“They honour outstanding, innovative and socially responsive scholarship as well as digital contributions," she added.</p><p style="text-align:justify;">“Kyle's achievement, weeks after he graduated, is something all of us at AOI celebrate. It is an honour for Stellenbosch University to welcome such a celebrated musician as a new alumnus. Christine Lucia's work is in many different ways a benchmark for music scholarship in South Africa, and we value her association with AOI as an Honorary Professor where she is pursuing research on the music of Michael Moerane as part of the Andrew W Mellon Delinking Encounters project," said Prof Stephanus Muller, the Director of the AOI. </p><p style="text-align:justify;"><em>Photo: Prof Christine Lucia (left) and Kyle Shepherd during one of his concerts were both awarded</em><em> </em><em>South African Humanities and Social Sciences (HSS) Awards recently</em><em>. (Photographer: Gregory Franz) </em></p>
Social work more than just a job for Dr Abigail Ornellas work more than just a job for Dr Abigail OrnellasSonika Lamprecht/Corporate Communication Division<p style="text-align:justify;">For many people choosing a career is a difficult decision, but for others, life experiences point them in a direction and it becomes a calling. Dr Abigail Ornellas, who received her PhD in Social Work this week, is one of the latter.<br></p><p style="text-align:justify;">Ornellas and her twin brother were adopted when she was almost five years old, after spending four years in foster care. “The family who adopted us is incredible and has given us an amazing life and opportunities we probably would never have had. This has always given me a sense of wanting to make my life count for something. I was the first in the family to go to university and get a degree. They have been incredibly supportive and are very proud of me.<br></p><p style="text-align:justify;">“My experience in foster care has made me intrinsically aware of the importance of social work and the impact it can have on a life. Some of the experiences I went through as a child have also helped me in social work practice, to understand the importance of opportunity. This is all people really need to truly step into who they are. It has kept me humble."<br></p><p style="text-align:justify;">However, it wasn't until closer to the end of her social work bachelor's degree that she began to realise how much more the profession was capable of and responsible for, and its complex history.</p><p style="text-align:justify;">In her fourth year of social work studies, she worked at a local state hospital and spent a lot of time working in the mental health ward. “My biological mother had dealt with mental illness, and so this was an area of interest for me. But I hadn't realised how social work could play an important role in this field. I became increasingly aware of the struggles in mental health as many public mental health facilities were being shut down due to deinstitutionalisation."</p><p style="text-align:justify;">This sparked an interest in the concept of deinstitutionalisation and she decided to focus her Masters on exploring this phenomenon in South Africa. “This was my first real entry into the world of social policy. What I would later realise was that deinstitutionalisation was linked to a much bigger concept – neoliberalism, which emphasises individualism, inequality as a driver for economic growth, protection of the privileged and elite, the commodification of care, the privatisation of services, and the idea that welfare creates dependency. These are all in direct contradiction to the social work values of collectivism, social justice, social cohesion and human dignity."</p><p style="text-align:justify;">Following her Masters, she worked as a research fellow on an international staff exchange scheme for two years where teams from 11 different countries actively mapped the impact of neoliberalism on social care and welfare. “This experience had the greatest impact on my career goals in social work and academic research. It gave me that bigger picture. Living in different countries working with social workers who have incredible stories and varied backgrounds opened my eyes to the vastness of our profession. I truly fell in love with it. I began to understand that social work has a responsibility to resist global socioeconomic changes that did not serve people."<br></p><p style="text-align:justify;">Something one of her professors said stuck with her. When talking about the concept of giving a person a fish as opposed to teaching them how to fish, he added, “but it doesn't help teaching someone to fish, if there is a fence around the pond".<br></p><p style="text-align:justify;">“That day I decided I would commit myself to finding ways of removing the fence – and that is macro and structural, and in my opinion, at the heart of the social work profession. We need to confront the system in which social injustice occurs at the individual level, to tackle things from the outward in."  <br></p><p><br></p>
Call for applications: Full-time PhD scholarships in the Arts, Humanities and Social Sciences for applications: Full-time PhD scholarships in the Arts, Humanities and Social SciencesLynne Rippenaar-Moses<p style="text-align:justify;"><span>​​T</span><span>h</span><span>e </span><span>Graduate School for Arts and Social Sciences </span><span>is a HOPE Project initiative in the Faculty of Arts and Social Sciences at Stellenbosch University to strengthen and advance doctoral training and scholarship in Africa.</span><span> </span></p><p style="text-align:justify;">More than 180 doctoral students from 18 African countries, including South Africa, have enrolled in this scholarship programme since 2010. A total of 93 have successfully graduated, of which 78% completed in three years or less.</p><p style="text-align:justify;">​Suitable candidates who are citizens of any sub-Saharan African country are invited to apply for three-year full-time doctoral scholarships in the research programmes of the Faculty to commence studies in January 2018. Scholarships are available to the value of R 420 000.00 over three years.</p><p style="text-align:justify;">Collaborative research, supervision and exchange will be encouraged through the Partnership for Africa's Next Generation of Academics (PANGeA) involving leading universities across Africa.<br></p><p style="text-align:justify;">Further information on the partially structured doctoral scholarship programme, eligibility and selection criteria, and application process is available online at <a href="/graduateschool"></a></p><p style="text-align:justify;"><strong>THE ​CLOSING DATE FOR APPLICATIONS IS 25 AUGUST 2017.</strong></p>
Departments in Arts Faculty and others collaborate for Women’s Day concert in Arts Faculty and others collaborate for Women’s Day concertFiona Grayer<p style="text-align:justify;">​​The Music Department in partnership with Stellenbosch University's (SU) Transformation Office, the Visual Arts Department and the Women's Forum presented a concert in celebration of Women's Day in August in the Endler Hall in Stellenbosch. The SU Jazz Band took centre stage under the direction of Felicia Lesch joined by South African jazz legend Gloria Bosman and jazz singer and poet Mihi-Tuwi Matshingana.<br><br>The evening was specifically dedicated to honouring the memory of Charlotte Mannya Maxeke – the first black South African woman to obtain tertiary education and who graduated in the USA in 1901. Her mantra, “When you rise, lift someone up with you", is a maxim that artists Felicia Lesch, Bosman and Matshingana all embrace.</p><p style="text-align:justify;">Lesch is passionate about music as a vehicle for social change and formed the SU Jazz Band as one of the ensembles of the Certificate Programme. The Certificate Programme is the pre-undergraduate programme of the SU Music Department which was created to empower students with skills to embark on a BMus or Diploma programme at tertiary level. </p><p style="text-align:justify;">Matshingana completed a BCom degree at SU in 2014, during which time she also studied in the Music Department's Certificate Programme, a programme to which she paid homage on stage. She is currently a third-year Jazz Studies student at Wits University in Johannesburg.<br></p><p style="text-align:justify;">South African author and journalist Zubeida Jaffer's third book “<em>Beauty of the heart</em>", which is a tribute to Maxeke and also provides fresh information on her life, was available for purchase at the event. Jewellery from an jewellery exhibition by Kutlwano Cele, a student in the Visual Arts Department, was also on sale.</p><p style="text-align:justify;">The SRC and many students from other departments and faculties supported the concert.  </p><p style="text-align:justify;">“For some this was their first “Endler experience", which made it a particularly joyful event," said Monica du Toit of the Transformation Office.<br></p><p style="text-align:justify;">Special guests from within the Arts Faculty, the Women's Forum, the Gender Equality Unit, SU Museum, SU Transformation Office and community partners of the Music Department's own Certificate Programme also attended the Woman's Day Celebration Concert. <br></p><p style="text-align:justify;">“The event was a moment of institutional belonging and connection with new people at our institution."<br></p><p style="text-align:justify;">“We look forward to more meaningful collaborations in the future and honour the women (and men) on stage who are using music as a vehicle to liberate, educate, rage and dream," added Du Toit.​​<br></p>
TRU to establish a democracy research node to establish a democracy research nodeLynne Rippenaar-Moses<p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">Over the past few years the state of democracy in South Africa has been increasingly threatened by large scale corruption, mismanagement of state funds<span class="Apple-converted-space"> </span>and improper governance practices under President Jacob Zuma's leadership. This is evident from media reports and public commentary by a range of political analysts. Globally, democracy is also not faring well with rising populism undermining liberal values.</p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">Tracking democracy since the heady days of its global spread in the wake of the collapse of the former Soviet Bloc in the 1990s,<span class="Apple-converted-space"> </span>the<span class="Apple-converted-space"> </span>Transformation Research Unit (TRU): Democracy Globally<span class="Apple-converted-space"> at </span>Stellenbosch University (SU) has taken the lead with a number of other research organisations across the world to interrogate the reasons behind this apparent unravelling of democracy.<span class="Apple-converted-space"> </span>The<span class="Apple-converted-space"> </span>TRU, which is based in the Political Science Department in the Faculty of Arts and Social Sciences,<span class="Apple-converted-space"> </span>focuses on examining South African democracy comparatively in the regional southern African and global contexts from a political, economic and social perspective.</p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">"The<span class="Apple-converted-space"> </span>proposed data centre is not meant to become yet another data archive. What we envisage instead is the creation of an "Intelligent Node" to help us locate data needed for analyses and teaching in the general area of democracy research by searching the repositories of already existing<span class="Apple-converted-space"> </span>international archive networks.<span class="Apple-converted-space"> </span>This<span class="Apple-converted-space"> </span>will allow us to contribute to the creation of new knowledge in the field of democracy studies, with a specific contextualisation for South Africa, and at the same time we will help integrate South African social research into global networks via the Research Data Alliance (RDA),"<span class="Apple-converted-space"> </span>says Prof Ursula van Beek, the Head of TRU.</p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">The RDA was launched in 2013 by the European Commission, the United States National Science Foundation and National Institute of Standards and Technology, and the Australian Government's Department of Innovation. The RDA<span class="Apple-converted-space"> </span>aims to build bridges to enable the global research community to openly share data across technologies, disciplines, and countries to address the grand challenges of society.</p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">Since its inception, TRU has taken a mixed-method approach in its research by combining in-depth qualitative country studies with quantitative analyses. Its heavy reliance on empirical data over the years led TRU's local and international partners to the idea of establishing a data centre.</p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">"During a recent TRU workshop the participants also discussed the growing need for postgraduate students to improve their research methodology skills in quantitative research, which is regarded as a 'rare skills' area in South Africa," explains Van Beek.</p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">To this end, a concurrent training programme has been proposed to expand the pool of young African scholars.</p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">"Postgraduate<span class="Apple-converted-space"> </span>students will therefore also be instructed by international experts on the data selection process to support their research hypotheses, and they will learn where to look for this data and how to do the analyses by utilising our Intelligent Node."  </p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">TRU<span class="Apple-converted-space"> </span>also recently completed one of two comparative projects, which was focused on democracy in South Africa, Zimbabwe, Namibia and Botswana.</p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">"I am happy to report that the findings of the all-African team will be published in a dedicated edition of the international journal of politics, the<span class="Apple-converted-space"> </span><em>Taiwan Journal of Democracy,<span class="Apple-converted-space"> </span></em>on 1 July 2017."<br><span style="line-height:1.6;"><br>"T</span><span style="line-height:1.6;">he second project that TRU is working on is nearing completion and focuses on democracy in South Africa from a global perspective. The research has established a decline in the legitimacy of democracies over the last 20 years in countries like Turkey, where the recent referendum has effectively killed democracy; Poland, where a populist government has come to power; and South Africa, where poor quality of governance has given rise to radicalism and polarisation that are threatening democracy."</span><br></p><p style="margin:0px 0px 10px;line-height:1.6;color:#444444;font-family:"segoe ui",segoe,tahoma,helvetica,arial,sans-serif;font-size:13px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;text-align:justify;">"The discouraging findings," says van Beek, "convinced us that further research into the state of democracy in South Africa was imperative and that the investigation ought to be supported by solid empirical evidence. We want to focus on social cohesion, which we consider to be the bedrock of democracy.<span class="Apple-converted-space"> </span> We believe that the problem of social cohesion can no longer be meaningfully investigated in isolation from regional and global trends as the globalisation of capital and the mass flows of refugees and immigrants bring additional pressures on efforts directed at attaining social cohesion at the nation-state level. At the same time, one particular research methodology is not likely to add much new knowledge and practical advice on the subject. For these reasons we<span class="Apple-converted-space"> </span>  decided to create the Intelligent Node and thus integrate into global networks."<br><em style="line-height:1.6;"><br>PHOTO: A group of national and international academics recently participated in a workshop by the<span class="Apple-converted-space"> </span></em><em style="line-height:1.6;">Transformation Research Unit (TRU): Democracy Globally at Stellenbosch University. From the<span class="Apple-converted-space"> </span></em><em style="line-height:1.6;">left in the first row are Dr Catherine Musuva (AU: Electoral Commission), Dr Cindy Steenekamp (SU), Prof Ursula van Beek (SU), Dr Nicola de Jager (SU), PhD candidate, Annemie Parkin (SU), and Ms Jordan Fredericks (Honours student, SU). In the second row are Prof Dieter Fuchs (Stuttgart University, Germany), Prof Dirk Berg-Schlosser (Philipps University in Marburg, Germany), Dr Webster Zambara (Institute for Justice and Reconciliation), Prof Hans-Dieter Klingemann (Research Centre, Berlin), and Prof Ursula Hoffmann-Lange (Bamberg University, Germany). In the third row are Dr Krige Sieberts (SU), Prof Laurence Whitehead (Oxford University), Prof David Sebudubudu (University of Botswana), and Ms Helen Kores (MA student, SU). <br></em></p>
PhD candidate's first poetry collection published candidate's first poetry collection publishedLynne Rippenaar-Moses<p style="text-align:justify;">The first poetry manuscript to be penned by Ms Sindiswa Busuku-Mathese, a doctoral candidate of the Graduate School of the Faculty of Arts and Social Sciences at Stellenbosch University, has been published by Botsotso. </p><p style="text-align:justify;">Busuku-Mathese, who is originally from Durban North in Durban, is currently completing her first year of PhD studies in the English Department via a three-year, full-time scholarship offered by the Graduate School. She is being supervised by Prof Sally-Ann Murray, an academic and poet whose work she says she has greatly admired. </p><p style="text-align:justify;"><em>Loud and Yellow Laughter, </em>says Busuku-Mathese, is a personal reflection on childhood. </p><p style="text-align:justify;">"There exists a tension between truth-telling and truth-testing in the poetry."</p><p style="text-align:justify;">The poems in the collection are woven together with archival materials such as letters, photographs, scraps of conversations recorded verbatim and found notes. Busuku-Mathese also uses dramatic techniques such as character lists and stage directions, highlighting the texts' re-enactment of pre-existing events between the main characters: The Mother, The Father and The Girl Child. </p><p style="text-align:justify;">As the adopted daughter of a man from Yorkshire, Britain and the biological daughter of a woman from Mt. Fletcher, Eastern Cape, her childhood was anything but normal if measured against traditional standards. Her poetry collection is also a creative memorial to her adoptive father, she says, who passed when she was only 13 years old. </p><p style="text-align:justify;">"The poetry collection looks at family and intergenerational discussions about parenting and childhood in South Africa, as well as topics of adoption and (un)belonging, and generational slippages that arise within families," she explains. </p><p style="text-align:justify;">"It is linked to my own background and very personal."</p><p style="text-align:justify;">By delving into her mother's and father's pasts and growth of their relationship – a parenting relationship between two friends – Busuku-Mathese explores her own identity as a South African through her writings by mixing auto/biography, elegy and documentary collage to explore the intersections between history and fiction. </p><p style="text-align:justify;">"My parents were two friends who decided to co-parent a child. It definitely did not reflect the relationships I saw between the parents of my own friends, who were involved in romantic relationships and parented their children in those relationships. That being said, I am writing about fragments of several lives over four generational lines, it's a multi-voiced meditation on loss and hope – a renegotiation and sometimes even a reversioning of history. There is a slipperiness to the collection, a kind of zigzaging between the person and the persona, a conflation between history, memory, myth and documentary, all woven together in the poems, which is important to remain aware of," she says. </p><p style="text-align:justify;">The manuscript for her collection, she explains, developed from the poetry work included in her MA thesis in Creative Writing, which was supervised by acclaimed South African poet Prof Kobus Moolman at the University of KwaZulu-Natal. Before being published, her work was also circulated in local poetry journals like <em>New Coin</em>, <em>New Contrast</em>, <em>Prufrock</em>, <em>Ons Klyntji </em>and <em>Aerodrome</em>. In 2015, it was shortlisted for the prestigious Sol Plaatje European Union Poetry Award and Busuku-Mathese was selected as runner-up for the Award. </p><p style="text-align:justify;">In 2016, Botsotso decided to publish her poetry – a major feat considering that unsolicited submissions from unknown poets and writers are often ignored. </p><p style="text-align:justify;">"I won't lie and say it was easy. What I experienced is that there is a strong resistance to new poets and often the response that you will encounter from most poetry publishers is that unsolicited manuscripts are not welcome. It's a frequent response and it can be frustrating when the few poetry publishers we have in this country will not look at new material from new poets, so when Botsotso said yes to my unsolicited publication, it was very exciting. While it is even more difficult to get poetry work published, I do believe that the more unsolicited work is accepted for review, the more publishers will start discovering interesting poetry that may have been overlooked because of exclusionary thinking."</p><p style="text-align:justify;">Her work, she hopes, will contribute to discussions around various forms of identity in South Africa and help introduce alternative narratives and voices in that space, making them more visible.</p><p style="text-align:justify;">"Issues of identity are real and personal, I think it is an important discussion to have in this country in particular considering how diverse our country is and how varied our experiences are of what it means to be South African. That is a conversation that I believe we are still grappling with and watching unfold as South Africans as we are pulled in different directions. My poetry explores what it means to be brought up in a home that is not stereotypical and to be young and struggling with the liminal space between two parents who represent radically different worlds." </p><p style="text-align:justify;">The collection however does not treat the alternative to traditional family structures as abnormal or as a spectacle.</p><p style="text-align:justify;">"That was always my intention, to present an alternative to the traditional and a view of a different form of parenting and not to make it seem different. The collection affirms that normal is not always traditional and that there are different distinctions of that. At the end of the day, it is my hope that my collection contributes to conversations about our various forms of South Africanness."</p><p style="text-align:justify;">If you are interested in purchasing a copy of <em>Loud and Yellow Laughter</em> at R80, you can contact Botsotso at <a href=""></a> or Busuku-Mathese at <a href=""></a>. </p><p style="text-align:justify;"><em>Photo: Ms Sindi-Busuku-Mathese with her first poetry collection, </em>Loud and Yellow Laughter, <em>which was recently published by Botsotso. (Anton Jordaan, SSFD)</em></p>
Doctoral candidate in English Department wins 2018 Ingrid Jonker Prize candidate in English Department wins 2018 Ingrid Jonker Prize Lynne Rippenaar-Moses<p style="text-align:justify;">Mrs Sindiswa Busuku-Mathese has won the 2018 Ingrid Jonker Prize for her debut poetry collection, <em>Loud and Yellow Laughter.</em><em> </em>The prize is given in alternate years to the best debut poetry collection in English or Afrikaans. </p><p style="text-align:justify;">“Winning the Ingrid Jonker Prize is an honour. It is a significant literary acknowledgement and a wonderful celebration of the collection. There are so many great poets who have won the Ingrid Jonker Prize in previous years, poets that I strongly admire – it's wonderful to be part of that poetic family tree. I'm very grateful to the amazing Prof Kobus Moolman who was my supervisor for <em>Loud and Yellow Laughter</em>. I'm also thankful for the incredible support shown to me by Prof Sally-Ann Murray and the English Department," said Busuku-Mathese, who is a completing a PhD in the English Department on a three-year full-time scholarship offered by the Graduate School.</p><p style="text-align:justify;"><em>Loud and Yellow Laughter</em>, which was published by Botsotso in 2016, is Busuku-Mathese's first volume of poetry.  Prior to  its publication, various individual poems from the collection appeared  in local and international poetry journals such as <em>New Coin</em>, <em>New Contrast, Prufrock, Ons Klyntji, Aerodrome, Illuminations</em><em> </em>and the <em>Unearthed Anthology.</em><em> </em>She also won second place in the 2015 Sol Plaatje European Union Poetry Award and her collection was shortlisted for the 2016 University of Johannesburg Prize in the debut category.</p><p style="text-align:justify;">“The collection is a personal reflection on childhood," said Busuku-Mathese at the time of the book's launch. </p><p style="text-align:justify;">​According to her, the poems in the collection are woven together with archival materials such as letters, photographs, scraps of conversations recorded verbatim and found notes. She also uses dramatic techniques such as character lists and stage directions, highlighting the text's re-enactment of pre-existing events between the main characters: The Mother, The Father and The Girl Child. </p><p style="text-align:justify;">As the adopted daughter of a man from Yorkshire, Britain and the biological daughter of a woman from Mount Fletcher, Eastern Cape, Busuku-Mathese says her childhood was anything but conventional if measured against traditional standards. Her poetry collection is also a creative memorial to her adoptive father, she says, who passed away when she was only 13 years old. </p><p style="text-align:justify;">"The poetry collection looks at family and intergenerational discussions about parenting and childhood in South Africa, as well as topics of adoption and (un)belonging, and generational slippages that arise within families," she explains. </p><p style="text-align:justify;">"It is linked to my own background and very personal."</p><p style="text-align:justify;">By delving into her mother's and father's pasts and the growth of their relationship – a parenting agreement  between two friends – Busuku-Mathese explores her own identity as a South African through her writings by mixing auto/biography, elegy and documentary collage to explore the intersections between history and fiction.</p><p style="text-align:justify;">She hopes that the collection will contribute to discussions around various forms of identity in South Africa and help introduce alternative narratives and voices in that space, making them more visible.</p><p style="text-align:justify;">"Issues of identity are both social  and personal, I think it is an important discussion to have in this country in particular considering how diverse our country is and how varied our experiences are of what it means to be South African. That is a conversation that I believe we are still grappling with and watching unfold as South Africans as we are pulled in different directions. My poetry explores what it means to be brought up in a home that is not stereotypical and to be young and struggling with the liminal space between two parents who represent radically different worlds." </p><p style="text-align:justify;">The collection however does not treat the alternative to traditional family structures as abnormal or as a spectacle.</p><p style="text-align:justify;">"That was always my intention, to present an alternative to the traditional;  a view of a different form of parenting even while I do  not  want to make it seem strange. The collection affirms that normal is not always traditional and that there are different distinctions of that. At the end of the day, it is my hope that my collection contributes to conversations about our complex  forms of South Africanness."</p><p style="text-align:justify;">“Sindiswa has exceptional creative gifts and a wonderful appetite for ideas. I believe that inherent talent, hard work and ongoing mentoring will see her go from strength-to-strength as a writer. She's already off to an outstanding start, and we're inspired by her achievements," says Prof. Sally-Ann Murray, Chair of the English Department. </p><p style="text-align:justify;"><em>Loud and Yellow Laughter</em><em> </em>can be purchased for R80 from Botsotso. Contact them  at <a href=""><span lang="EN-US" style="text-decoration:underline;"></span></a>or e-mail Sindiswa Busuku-Mathese directly at <a href=""><span lang="EN-US" style="text-decoration:underline;"></span></a>to get your copy.<br></p><p style="text-align:justify;"><em>Photo: Mrs Sindiswa Busuku-Mathese recently received the 2018 Ingrid Jonker Prize for her poetry collection,</em><em> </em>Loud and Yellow Laughter. <em>(Anton Jordaan, SSFD)</em></p>
BASC encourages students to join in on an exciting BA Week encourages students to join in on an exciting BA WeekLynne Rippenaar-Moses<p style="text-align:justify;">The annual BA Week organised by the BA Student Committee of the Faculty of Arts and Social Sciences will be hosted again from 24 to 28 April and promises to provide students with a taste of what the social sciences have to offer through a range of fun, interesting and informative activities.</p><p style="text-align:justify;">According to Masixole Ndamandama, the BA Student Committee (BASC) member responsible for Marketing and Recruitment, the aim of BA Week is to engage with students in the faculty and the greater Stellenbosch University (SU) about the curricular offering within the arts and social sciences. This will be done through talks and events that focus on relevant topics that impact on society and by showcasing the talents of BA students from the music, visual arts and drama environments while exposing other students to these fields too. <br><span style="line-height:1.6;"><br>The theme for </span><span style="line-height:1.6;">this year's BA Week is </span><em style="line-height:1.6;">Breaking Barriers.</em><br></p><p style="text-align:justify;">BASC will host a range of events including a discussion on <em>The Coloured Identity </em>panelled by Dr Riaan Oppelt, a lecturer from the English Department at SU teaching English and Cultural Studies; Ms Diana Ferrus, an administrator from the University of the Western Cape who is also a poet and writer and well-known for her poem on the Khoisan woman Saartjie Baartman whose remains were on display in Paris up to 1986; as well as Ms Leza Soldaat, a Masters student in Sociology from the Sociology and Social Anthropology Department at SU. The discussion will take place the SU Museum in Ryneveld Street on 25 April at 18:30 and will be followed by a screening of The Coloured Mentality, a locally produced web series focusing on what it means to be coloured in South Africa. </p><p style="text-align:justify;">The week will however kick off with some nice goodies on Monday morning, 24 April, at 10:00 with BASC distributing cupcakes and a copy of the week's programme to students as they enter the BA building through the front door leading to the second floor of the building.  </p><p style="text-align:justify;">Other events and activities happening during the course of the week, include: <br></p><ul><li><span style="line-height:1.6;">A</span><span style="line-height:1.6;"> screening of the </span><em style="line-height:1.6;">The Dead Poets Society</em><span style="line-height:1.6;"> movie at Pulp Cinema in the Neelsie Student Centre on Monday, 24 April at 18:30.</span></li><li><span style="line-height:1.6;"></span><span style="line-height:1.6;">On Tue</span><span style="line-height:1.6;">sday, 25 April, at 13:00 a Contemporary Dance Showcase will be held in the Endler Hall of the Conservatorium.</span></li><li><span style="line-height:1.6;"></span><span style="line-height:1.6;">The ne</span><span style="line-height:1.6;">w BA hoodie will be revealed on Wednesday at 10:00 at the B</span><span style="line-height:1.6;">ASC offices on the 2</span><sup>nd</sup><span style="line-height:1.6;"> floor of the BA building, allowing students to order their hoodie just in time for winter.</span></li><li><span style="line-height:1.6;"></span><span style="line-height:1.6;">On Frid</span><span style="line-height:1.6;">ay, 28 </span><span style="line-height:1.6;">April, a Market Day will be held at the entrance to the BA building at 10:00. Students will sell savoury eats t</span><span style="line-height:1.6;">o the rest of campus and the general public at this market. On the same day, students can also watch a free lunch time jazz concert between 13:00 and 14:00 in the Endler Hall of the Conservatorium. </span></li></ul><p></p><p>While BASC offers BA students a range of exciting activities to participate in throughout the year, the Committee is primarily responsible, amongst others, for assisting students with academic matters that has not been resolved through the usual procedural channels within the faculty, language issues that may arise during the course of the students' studies, or problems with obtaining the correct pass rate during the course of the year to write exams. Students in need of help can either visit BASC's offices at the entrance to the BA building on the 2nd floor (at the top of the first flight of stairs upon entrance to the building) between 08:00 and 13:00 or mail BASC at <a href=""></a>. </p><p></p><p>According to Ndamandama, while previous interactive weeks of this type culminated in a Gala Event, the current BASC has decided to postpone the ball event to find a less formalised and cheaper option to the traditional event that has been offered to students for years. <br><br>Marketing materials for the BA Week was designed and produced by Alec Poole. <br><br>All the events are free and are open to all students including interested members of the public. For further details contact BASC at <a href=""></a> or via <a href="">Facebook</a>. You can also engage with BASC via the @bask_su Twitter handle. <br></p>
International exhibition traces eugenics movement to Nazi regime’s “science of race” exhibition traces eugenics movement to Nazi regime’s “science of race”Lynne Rippenaar-Moses<p style="text-align:justify;">An international traveling exhibition produced by the United States Holocaust Memorial Museum and which explores the Nazi regime's “science of race" and its implications for medical ethics and social responsibility today is currently being hosted at the Stellenbosch University Museum until 28 May 2018.</p><p style="text-align:justify;">The <em>Deadly Medicine: Creating the Master Race </em>exhibition is presented by the South African Holocaust and Genocide Foundation in South Africa ( After Stellenbosch it will travel to  Johannesburg, Pretoria, Durban, Cape Town and Namibia where it will be exhibited at the  Holocaust Centres in South Africa, as well as other universities and museums. </p><p style="text-align:justify;">Through reproductions of photographs and documents, historical films, and survivor testimony, the exhibition traces how the persecution of groups deemed biologically inferior led to the near annihilation of European Jews. It also challenges viewers to reflect on the present-day interest in genetic manipulation that promotes the possibility of human perfection and the legacy of racism.</p><p style="text-align:justify;">As part of the exhibition a number of public lectures, film screenings, book launches and panel discussions have been presented by a range of South African academics including those from the Faculties of Arts and Social Sciences  and Health Sciences at Stellenbosch University (SU). </p><p style="text-align:justify;">In a country like South Africa, where issues around medical ethics continue to this day, and where there is an ongoing need to remind the country of the dignity of the individual, the exhibition has particular relevance. </p><p style="text-align:justify;">On Wednesday, 25 April, Prof Steven Robins from the Sociology and Social Anthropology Department, and Dr Handri Walters, a researcher for the South African section of the exhibition, presented a talk on <em>Spectres of Racial Science: Understanding eugenics as a 'travelling science'</em>. It explored how eugenics became a global science in the early 20<sup>th</sup>century and how German eugenics, which had roots in German South West Africa (now Namibia), travelled to many parts of the world, including SU. Robins is also the author of <em>Letters of Stone, from Nazi Germany to South Africa</em><em> </em>a deeply personal and painful reflection of the true horror and extent of the Nazis' racial policies against Jews, which made the Sunday Times Alan Paton Award for Non-Fiction shortlist in 2017. <a href="/english/Lists/news/DispForm.aspx?ID=4138">Read the full story here</a>.<br></p><p style="text-align:justify;">The exhibition examines how the Nazi leadership, in collaboration with individuals in professions traditionally charged with healing and the public good, used science to legitimise persecution and ultimately, genocide. The history of the Holocaust provides an invaluable context through which to view and reflect on contemporary issues </p><p style="text-align:justify;">“Deadly Medicine shows how the Nazi regime under Adolf Hitler aimed to change the genetic makeup of the population through measures known as “racial hygiene" or “eugenics". It also highlights the role that scientists in the biomedical fields, especially anthropologists, psychiatrists, and geneticists, who were all medically trained experts played in legitimising these policies by helping to put them into practice," according to the pamphlet shared on the exhibition. </p><p style="text-align:justify;">Medical experimentation however started as far back as Eugen Fischer's and other scientists' study of African prisoners of war in Namibia during the Herero and Namaqua Genocide that led to the deaths of tens of thousands of individuals.  These studies influenced German legislation on race, including the Nuremberg laws, from the early 20<sup>th</sup>century onwards. </p><p style="text-align:justify;">“When Nazi racial hygiene was implemented, the categories of persons and groups regarded as biologically threatening to the health of the nation were greatly expanded to include Jews, Roma (Gypsies), the mentally and physically disabled and other minorities."</p><p style="text-align:justify;">“Under cover of World War II, and using the war as a pretext, Nazi racial hygiene was radicalised and there was a shift from controlling reproduction and marriage to simply eliminating persons regarded as biological threats."</p><p style="text-align:justify;">As part of the exhibition a two-seminar series was planned on <em>Taking stock: Disability & Human Rights in contemporary South Africa.</em><em> </em>The first<em>was Deadly Practices: Esidimeni and beyond which took place on April 16.</em><em> </em>The second<em> </em><em>Beyond the right to life: Disability, Personhood & Participation</em><em> </em>will be chaired by Prof Leslie Swartz from the Psychology Department on Monday, 7 May. Swartz is a distinguished professor who has trained as a clinical psychologist and is a leading expert on disability rights issues, particularly in low-income contexts. </p><p style="text-align:justify;">On Tuesday, 15 May, the film <em>Skin,</em><em> </em>will be introduced by Ms Bonita Bennett, Director of the District Six Museum.This film depicts Sandra Laing's life. Laing was classified as 'coloured' because of her skin colour and hair texture,  although having 'white' parents. The screening will be followed by a Q and A session. </p><p>The Stellenbosch University Museum is situated at 52 Ryneveld Street in Stellenbosch and can be contacted at at 021 808 3695.</p><p><em>Photo</em><em>:</em><em> </em><em>Head shots showing various racial types: Most Western anthropologists classified people into “races" based on physical traits such as head size and eye, hair and skin colour. This classification was developed by Eugen Fischer and published in the 1921 and 1923 editions of Foundations of Human Genetics and Racial Hygiene. (Supplied by </em><em>US Holocaust Memorial Museum)</em></p>
Graduate School reaches major milestone in University's centenary year School reaches major milestone in University's centenary year Lynne Rippenaar-Moses<p style="text-align:justify;">The Graduate School of Arts and Social Sciences has broken through the 100 degrees ceiling with the awarding of another 14 degrees at the Faculty of Arts and Social Sciences' graduation on Thursday, 22 March. This takes the overall number of degrees awarded over the last eight years to 114. The milestone also coincides with Stellenbosch University's own 100<sup>th</sup> anniversary year.<br></p><p style="text-align:justify;">“The Faculty is very excited to be celebrating this incredible milestone in the centenary year. What started as a HOPE Project initiative in 2010 has led to this academic milestone in the 2017 academic year and not only have we hit the 100 mark, but we have catapulted to 114 degrees delivered. What was once an ambitious HOPE Project has today become the Faculty's flagship project," said Prof Anthony Leysens, the Dean of the Faculty of Arts and Social Sciences.<br></p><p style="text-align:justify;"> </p><p style="text-align:justify;">“The Graduate School is considered to be the biggest success story for the Faculty of Arts and Social Sciences as we have developed and implemented a comprehensive and concerted set of measures to address the critical current and future shortages of trained academics in the arts, humanities and social sciences in South Africa and the continent at large," added Dr Cindy Steenekamp, Chair of the Graduate School Board.</p><p style="text-align:justify;">In 2012 the first 19 doctoral degrees were awarded by the School followed by 21 awarded in 2013, 20 in 2014, 13 in 2015, 20 in 2016 and 21 in 2017.</p><p style="text-align:justify;">These graduates are also completing their doctoral studies within record time.   </p><p style="text-align:justify;">“We enrol an average intake of 22 students per year and are delivering an average of 19 graduates per year, which means that a vast majority (75%) of our graduates have completed their degrees in the required three years or less. In this way the School has managed to half the number of years that PhD students within the faculty complete their PhD degrees. Most students take 5 years to complete their doctoral studies, while students who are registered via the School complete their degrees in 2.5 years on average" explained Steenekamp.<br></p><p style="text-align:justify;">The Graduate School's successes over the last seven years is rather significant, especially considering that South Africa's National Development Plan calls for 5 000 new doctoral graduates to be produced by 2030. The country is still far from reaching that goal with only 2 530 PhD degrees awarded in the 2015 academic year. <br></p><p style="text-align:justify;"> </p><p style="text-align:justify;">Although doctoral enrolments in the Faculty have been steadily increasing, the establishment of the Graduate School in 2010 marked a major shift in doctoral education. The average increase in enrolments grew from 25% to 65% with the advent of the Graduate School's doctoral scholarship programme. The Graduate School has enrolled over 180 candidates in eight cohorts between 2010 and 2017, which represents about a quarter of the doctoral enrolments within the Faculty. </p><p style="text-align:justify;">The Graduate School was established as Stellenbosch University's contribution to the Partnership for Africa's Next Generation of Academics (PANGeA) in 2010. PANGeA is a “collaborative network of leading African universities developing research capacity and confidence in bringing African expertise to Africa's challenges". The network aims to strengthen higher education in Africa by creating opportunities for fully-funded doctoral study in the arts, humanities and social sciences; collaborative research projects and exchange among partner institutions; the development of research capacity on site; and in the longer term, the establishment of joint doctoral degree programmes specifically in the arts, humanities and social sciences.<br></p><p style="text-align:justify;">The universities involved in the PANGeA network include the University of Botswana, the University of Dar es Salaam in Tanzania, the University of Ghana, Makerere University in Uganda, the University of Malawi, the University of Nairobi in Kenya, Stellenbosch University, and the University of Yaoundé I in Cameroon. PANGeA is therefore enriched through developing an active footprint on which to draw intellectual diversity in terms of linguistic, cultural and national backgrounds.</p><p style="text-align:justify;">Of the 114 doctoral degrees awarded, of which the last 14 graduated on Thursday, 85% are BCI (diversity) candidates; 62% are male and 38% are female; and 48% are staff members within the PANGeA network that have since resumed their academic positions at their home institutions. These graduates also come from a range of countries in Africa, including  Angola (2 candidates), Botswana (2), the Democratic Republic of Congo (1), Gabon (2), Ghana (6), Kenya (11), Lesotho (1), Malawi (12), Nigeria (2), Tanzania (13), Uganda (15), Zimbabwe (20) and South Africa (27).</p><p style="text-align:justify;">“A high percentage of our graduates and alumni are either retained within or enter the higher education sector in Africa. We pride ourselves in strengthening the capacity of Africa to generate new knowledge through stemming the brain drain from Africa and reversing the decline of science and scholarship in African higher education. Through the Graduate School and our involvement in PANGeA we are promoting Africa's next generation of leaders, academics and professionals" says Steenekamp. <br></p><p style="text-align:justify;">Some of the research topics that graduates have concentrated on over the years include <em>Ethnography and the archive: Power and politics in five South African music archives</em>; <em>Appraisal and evaluation in Zimbabwean parliamentary discourse and its representation in newspaper articles</em>; <em>Ghoema van die Kaap: The life and music of Taliep Petersen (1950-2006)</em>; <em>Language and the politics of identity in South Africa: The case of Zimbabwean (Shona and Ndebele speaking) migrants in Johannesburg</em>; <em>The nature and scope of management tasks performed by volunteers on management committees of non-profit organisations</em>; and <em>Are "untouched citizens" creating their deliberative democracy online? A critical analysis of women's activist media in Zimbabwe</em>.<br><em><br>Photo: Here are some of the 114 doctoral graduates to graduate from the Graduate School over the last eight years. (Anton Jordaan, SSFD)</em></p>