Following the union of the Presbyterian Church of Southern Africa and Reformed Presbyterian Church in Southern Africa to form the Uniting Presbyterian Church in Southern Africa in 1999, it was necessary to consolidate theological education of a united church. This was a wise and bold decision by UPCSA, as a first attempt to integrate the training of both black and white students, but more importantly to give institutional expression to the advancement of unity. University of Pretoria became a major training (...) centre of the UPCSA. Collaboration in ministerial formation between UPCSA and UP, its partner institution, has been plagued by manifold challenges. The challenges which will come under the spotlight are ecumenism, relationship between the university and the UPCSA, curriculum and spirituality. (shrink)

With the increasing number of people living with HIV/AIDS and the escalating costs of health care, there is an increasing demand for informal caregiving in the community. Currently, much emphasis is placed on individuals who are living with HIV/AIDS (in terms of the provision of social, psychological and economic support), but very little attention has been paid to the well-being and quality of life of informal caregivers. Lack of support and care for caregivers may have a negative impact on the (...) quality of care and effective services for individuals living with HIV/AIDS. This paper is based on findings from a qualitative study that explored major sources of stress associated with caregiving among informal caregivers in a village in the southern part of Botswana. The paper suggests that informal caregivers are an integral part of the continuum of care. As a result, they need to be nurtured and supported for the betterment of those both infected and affected by HIV/AIDS. The paper concludes by discussing the implications for further research, policy and programme development. (shrink)

Pondo Blues, is a song by Eric Nomvete and the Big Five, a group that came from East London to perform at the Moroka-Jabavu Stadium as part of the 1962 Cold Castle jazz festival. Although the song has acquired symbolic meaning and recognition as one of the 'classics' in South African jazz, prevailing understandings of the song have framed it as a traditional drinking song as well as a song lamenting the Mpondo revolt, where both these understandings have tied (...) it deeply to the rural Eastern Cape. This paper tracks the sonic and social relationships of disarray, change and improvisation that come together to rehearse Pondo Blues across space and time, and atmospheres of history which move us away from iPhondo as the provincial Eastern Cape, which is tied up with the rural, the ethnic, the backward countrified folk and the local towards a more expansive and infinite sense/s of pasts and futures. (shrink)