Zuma’s final battle for control of the ANC

The power struggle between President Zuma and trade union leader Zwelinzima Vavi is a prelude to a battle for wider control of the political landscape.

 

Today, Julius Malema appears in court. Today the once-feared former ANC youth leader cuts a sorry figure. His assets have been seized; his unfinished luxury home in the exclusive Johannesburg suburb of Sandton is up for sale.

Malema and his associates are accused of fraud, corruption, money-laundering, and racketeering. Few believe he would be facing these charges had he not challenged the South African President, Jacob Zuma. It was a confrontation Zuma won, and Malema was expelled from the ANC.

Had this not taken place he – like Zuma himself – would almost certainly been able to use South Africa’s complex legal system to bog down, postpone and put off any trial indefinitely. Stripped of his political immunity, Malema must now take his chances.

The removal of Julius Malema left President Zuma with only one critic of real standing within his movement – the leader of the Cosatu trade union movement, Zwelinzima Vavi. The unions, resurrected in the Seventies after their suppression in the Sixties, are part of a formal alliance with the ANC and the Communist Party.

But the relationship has become increasingly fraught. Vavi is a free spirit, not cowed by Jacob Zuma and – with the support of the nearly two million-strong trade unions – a force to be reckoned with. It was with the backing of the unions and the Communist Party that Zuma defeated former President Thabo Mbeki in December 2007, to take the presidency of the ANC and then the country.

The Zuma–Vavi–Communist Party axis soon began falling apart. Vavi resisted attempts to bring him into government, criticising the Communist Party general secretary, Blade Nzimande, for taking up ministerial office. Relations deteriorated further when Vavi laid into the Communist Party leader for ordering a R1.1 million (£80,000) 7-series BMW as his official government vehicle

Since then tensions between Vavi and his allies steadily increased.  Now there are attempts to remove him from the union leadership. But Vavi is fighting back, with the help of the influential metalworkers union, Numsa. A statement published by the metalworkers earlier this month came to his aid.

“These forces inside and outside Cosatu who miserably failed in their endeavours to have general secretary comrade Vavi dethroned in the 2012 Cosatu national congress ... now want to go behind the backs of their members, who demonstrated confidence in the leadership of comrade Vavi, want to use the smaller leadership of the Cosatu central executive committee (CEC) to stage a coup,” said Numsa. “As Numsa, we refuse to allow Cosatu to be used by greedy and power-hungry individuals who have lust for positions of power in the broad liberation movement and the state.”

Vavi has used his links with a range of civil society organisations to bolster his position. On 18 April  he issued a statement on behalf of 39 civil society groups, announcing a mass mobilisation against corruption and abuse of power. The organisations, meeting as the National Anti-Corruption Forum, declared that “corruption is the biggest threat to our young democracy” and that the forum will therefore be developing a “concrete detailed platform” to mobilise civil society. 

But Vavi’s enemies have hit back. They have laid their own charges against the Cosatu general secretary, alleging that he himself was involved in corrupt practices. They accuse Vavi of deliberately undervaluing a Cosatu owned building, suggesting that members of Vavi’s family benefitted from its sale – a charge he strongly denies. Among his critics are the police union, which made the complaint

The tension between the unions and the wider alliance has long been predicted. During the Fifties the progressive union movement, Sactu, came under such ANC dominance that it became a battering ram in the party’s confrontation with the apartheid government. Sactu fell apart and when the unions were re-formed in the mid Seventies activists were determined this should not be repeated. While they supported the fight for liberation they guarded their independence. In a key statement in 1982 the union movement outlined their concerns.

"It is, therefore, essential that workers must strive to build their own powerful and effective organisation even whilst they are part of the wider popular struggle. This organisation is necessary to protect worker interests and to ensure that the popular movement is not hijacked by elements who will in the end have no option but to turn against their worker supporters." 

Exactly those ‘elements’ have now taken control of large sections of the ANC, just as the unions predicted. They run the party for their own ends, using the resources of the state to feather their nests. The resulting tensions with their union allies are inevitable.

These developments come as electioneering for next year’s general election has begun. The ANC – weakened by internal conflicts and general public apathy – desperately needs the organisational strength of the Cosatu unions to bolster its campaign. But before that can get under way Zuma and his allies are determined to remove the one obstacle that stands in the way of their complete domination of the ANC-led alliance. Settling their scores with Vavi is a prelude to their wider control of the political landscape. 

 

Zuma and Vavi in 2006. Photograph: Getty Images

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?

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Why hasn’t British Asian entertainment built on the Goodness Gracious Me golden age?

It is 20 years since the original radio series of Goodness Gracious Me aired. Over two decades, the UK media portrayal of Asians hasn’t used its success to evolve.

Save for a handful of special one-off episodes, Goodness Gracious Me hasn’t occupied a primetime TV slot for nearly two decades. Yet still it remains the measuring stick for British Asian comedy.

The sketch show, which transitioned seamlessly from radio to screen (it started as a BBC Radio 4 series in 1996), has stood the test of time and is as much a staple of modern British Asian culture as Tupperware or turning up an hour late.

What Goodness Gracious Me did so expertly was to take a set of serious issues facing first, second and now, I suppose, third generation migrants, and turn them on their heads. 

In making light of the pressures of academic expectation or family drama, Goodness Gracious Me wasn’t playing down the poignancy of such concerns; it was raising awareness and combatting their uglier side with humour.

It offered resonance and reassurance in equal measure; it was ok to have an embarrassing uncle who insisted he could get you anything much cheaper, including a new kidney, because other people like you did too.

That Goodness Gracious Me was broadcast on a mainstream channel was also a victory for minorities; it made us feel integrated and, perhaps more importantly, accepted. Against the backdrop of Brexit, what wouldn’t we give for that treatment now?

Really, though, the jewel in Goodness Gracious Me’s crown was its willingness to recognise diversity within diversity. It is a relic of a departed era when discourse on TV around Asians was different, when the broad church of that term was truly represented, rather than reduced to one catchall perception of British Muslims.

Goodness Gracious Me offered insight into the experiences and idiosyncrasies – religious or otherwise – of Indians, Pakistanis, Bangladeshis, Sri Lankans and even English people. It’s what made it so accessible and, in answering why subsequent programmes have failed to reach similar heights, this is a good starting point.

Without the flexible sketch format, the modern Asian sitcom Citizen Khan has struggled to cover multiple topics, and, by being specifically about a Muslim family, it leaves many non-Muslim Asians wondering: where’s ours?

I hasten to add that I feel plenty of sympathy for the British Muslim community, hounded by tabloid headlines that attack their faith, but it would be disingenuous to suggest that non-Muslim Asians are sitting pretty in 2016 and don’t need a similar level of support in terms of positive public perception.

The current volume of British Asian media products is fairly good. The BBC has its dedicated network, The Good Immigrant essay collection was one of the outstanding reads of the year, and we still have champions of comedy in Romesh Ranganathan and Nish Kumar.

But I think ultimately it comes down to the broadness of appeal, rather than the quantity of products. Goodness Gracious Me was not only able to engage the full spectrum of British Asia; it transcended its target audience and was on terrestrial TV.

The British Asian media on offer now is up against it, released as the country’s attitude towards foreigners completes a full circle back to the same suspicion my grandfather encountered in the Sixties.

Fewer outlets are willing to explore the stretch of what it means to be Asian, either by denying it due consideration in mainstream shows or by peddling their own monolithic observations. The BBC Asian Network, for example, is laudable in its existence, but does little to engage the young Asians who aren’t into techno spliced with Bhangra.

The mainstream representations of Asians in Western film and television that are commissioned, meanwhile, are irritatingly limited and sometimes inaccurate. In an article for the Guardian last year, Sara Abassi lamented the disproportionate appetite for “gritty post-9/11 films about conservative Pakistani families”, and that the researchers of American series Homeland failed to realise that the national language of Pakistan isn’t Arabic.

When I interviewed the actor Himesh Patel for the No Country for Brown Men podcast, he suggested that the answer to re-establishing Asians in mainstream media, both here and in America, was three-fold. The first challenge to overcome was for outlets to acknowledge that not all Asians fit the same religious or cultural profile; the second was to be open to placing Asians in non-Asian specific products to better reflect their presence in society.

Patel, who is best known for his portrayal of Tamwar Masood in the soap opera EastEnders, made his third recommendation based on this role. He felt that characters should be written with only their personality in mind, making the ethnicity of the actor who plays them incidental. Tamwar’s awkwardness but underlying kindness, Patel said, was what defined him – not his skin colour.

Goodness Gracious Me, though a primarily Asian show and a comedy at that, actually taught some salient lessons about representation. It succeeded in providing a window into a multiplicity of cultures, but at the same time wasn’t a total slave to the politics of identity – several of the 100-plus characters needn’t have been Asian at all. It was reflexive to the times we lived in and a perfect advertisement for empathy. That is why we still talk about it today.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.