South Africa’s military meltdown

On the face of it, life continues as normal, but behind the scenes the South African military has been cut to the point where it's doubtful it will be able to live up to its African responsibilities.

The South African military – once feared across much of Africa – is today in steep decline. Its budget has been slashed; its equipment unserviced and unserviceable and its troops demoralised. In the 1980s – at the height of apartheid – the country spent four per cent of GDP on the military. Today that figure stands at around one per cent. While cuts were certainly justified, the scale of the reductions has done lasting damage to the Defence Force.

This is, of course, not the impression the Ministry of Defence provides the South African public. On the face of it, life continues as normal. A major military exercise is currently under way with the United States military.

And South African troops are being readied for deployment in the Democratic Republic of Congo, to participate in what the United Nation describes as its first-ever “offensive” combat force. This is intended to carry out targeted operations to “neutralise and disarm” the notorious M23 rebels currently operating around the eastern town of Goma, as the United Nations press release put it.

This must have come as news to the South African military, since they were soon denying (pdf) any intention of fighting the Rwandan backed rebels. “We (SANDF) have consistently indicated that we have not engaged any rebel force in the in the eastern DRC and we repeat that that remains the case,” a press statement from the Ministry of Defence declared on 16 July. Since bringing a semblance of stability to the Goma area was the reason the force was created and this would inevitably mean fighting the M23, it is not clear what element of the plan the South Africans failed to grasp.

Leaving this confusion aside, there are real questions about the South African military’s ability to go on mounting such operations. The past few months have seen a series of setbacks.

  • Earlier this month it was revealed that the Air Force has no maintenance contract for the 26 Grippen fighter jets, ordered at great cost in 1999. Without maintenance they aircraft are almost useless.
     
  • None of the Air Force’s Agusta light utility helicopters are flying any more, because there are no funds for the exercises.
     
  • One of South Africa’s submarines – the SAS Queen Modjadji - had its outer hull damaged after hitting the seabed. This led to questions in Parliament, with calls for those responsible to be disciplined, and complaints that the accident “speaks of negligence and poor training.”
     
  • The main naval shipyard, at Simonstown, is running at less than a third of the capacity required to service the fleet, and is – according to the Chief of the Navy, Vice Admiral Refiloe Mudimu -  unable to recruit the skilled staff it requires.
     

These issues come after years of grumbling from pilots, who said they lacked fuel and ammunition for routine exercises, and left for Australia, New Zealand and other destinations in droves. Only six trained Grippen pilots were said to remain earlier this year, eking out 150 hours flying time over the whole year.

The opposition Democratic Alliance has called for a crisis meeting on the subject – pointing out that while funding is not available for essentials, the Air Force has been required to provide R50m (£3.4m) to fly government VIPS around the country and on foreign jaunts. “The South African Air Force are in danger of being reduced to an airborne taxi service for VIPs," said DA defence spokesman, David Maynier.

According to Helmoed Heitmann, South African correspondent of Jane’s Defence Weekly, there is another critical issue, which no-one dares mention: the military is badly over-manned. “They need to kick out around 20,000 people,” Heitmann told the New Statesman. “But the authorities know if they do this, they will put men on the streets who have access to guns and an ability to use them. They would only end up filling the jails.” As a result the 88,000 strong military can’t be slimmed down, in line with its reduced budget. 

Heitmann believes the R40bn funding (1.1 per cent of GDP) would need to be doubled to provide South Africa with a force that can really meet the defence needs of the country.

“At present the Defence Force can provide border protection, one African peacekeeping operation and can either patrol South Africa’s own waters or fight piracy in the Mozambique channel – but not both,” says Heitmann.

Hanging over the debate is the perennial question of the corruption in the $4.8bn 1999 Arms Deal. This is a ghost that refuses to depart. Last month there were fresh revelations that the former chairman of Parliament’s Joint Standing Committee on Defence, Tony Yengeni, signed a R6mn kickback deal with a German company providing frigates for South Africa. Yengeni refused to confirm or deny the allegation. He told the Mail & Guardian newspaper “I’ve got nothing to say on all you’re saying”.

A Commission of Inquiry into the Arms Deal was announced in 2011. It has yet to begin hearing witnesses. Commission critics say they have lost faith in its investigation, since they are being denied the right to cross-question witnesses. This is only the latest criticism of the Commission, which was previously accused of failing in its duty, for claiming that there is no evidence implicating the ANC in Arms Deal corruption.

While all this is serious, the real calamity is that South Africa  - one of the few democracies on the continent that had an effective military - is so limited in its ability to live up to its African responsibilities. Sending troops to the Democratic Republic of Congo is fine, but what about Mali, Somalia, the Central African Republic and the other conflicts that need to be addressed? As long as Pretoria starves its armed forces of the necessary funds, these needs will go unanswered, or the African Union will have to turn to the United States, France or Britain to pull its irons out of the fire. 

An honour guard lines up for the arrival of the US President at the Union Building in Pretoria, South Africa in June 2013. Photo: Getty

Martin Plaut is a fellow at the Institute of Commonwealth Studies, University of London. With Paul Holden, he is the author of Who Rules South Africa?

Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.