Can Mamphela Ramphele crack South Africa’s political mould?

Coming in from the political cold will be no easy task.

Today, Mamphela Ramphele will launch a new political party – Agang SA. The launch, to be held at the Pretoria showground – now renamed the ‘Tshwane Events Centre’ - promises to be a glittering event. It will feature some of South Africa’s top musicians including Mi Casa, G Force and the Soweto String Quartet.

Dr Ramphele (she holds a medical degree) issued a press release promising: “This is a momentous week for Agang SA as we prepare for the launch of our party on Saturday. Agang offers the prospect of restoring the promise of freedom and a hope for the future that is striking a chord with people across the country.”

But this is the middle of the South African winter; appropriately enough the supporters of the new party have been asked to bring blankets. Perhaps it is a warning Dr Ramphele should take to heart herself; coming in from the political cold will be no easy task.

Agang (the word means ‘build’ in Sotho) will join a very long list of registered political parties. South Africa may have been a true democracy for just 20 years, but it has spawned a vast number of parties; 137 nationally and even more if local parties are included.

Many are tiny, with the African National Congress of President Jacob Zuma towering over them all. In the last election in 2009 the ANC won 65.9% of the vote and took 264 of the 400 seats in parliament.

So what hope for Dr Ramphele?

On the plus side, she had a long history of fighting apartheid. Some portray her as no more than a partner of the legendary Black Consciousness leader, Steve Biko, but her activism was much more than that. She led the movement’s community development programmes. The apartheid government banished her to a small town between 1977 to 1984. When apartheid ended Dr Ramphele took a success of key jobs, including Vice-Chancellor of the University of Cape Town. She later became one of four Managing Directors of the World Bank. So Dr Ramphele enters politics with credibility and experience.

All of which makes it a little difficult to understand why she is regarded with such scepticism by much of the South African media and the wider chattering classes. Her critics point to a number of weaknesses in her position.

In a searing attack on her, the commentator R W Johnson suggested that Dr Ramphele is something of a dilettante, flitting between jobs. More damagingly, he quoted several of her former colleagues as accusing her of having a dictatorial managerial style and poor judgement. “Bank insiders said that ‘within weeks’ it was clear that the Bank's President, James Wolfensohn, had made a mistake - and that he knew it. The problem was that Ramphele was too senior in the Bank ‘for anyone to cover for her’.” Johnson suggests that the World Bank was only too pleased to see the back of her, when her term was up.

Returning to South Africa from Washington, Dr Ramphele took a series of high-paid directorships and began to consider moving back into politics. Lengthy talks with Helen Zille, leader of the official opposition and her old friend from the University of Cape Town, finally collapsed in 2012. Her talks with the Democratic Alliance had made progress and Zille had even offered to stand down as party leader in favour of Dr Ramphele. But at this point Ramphele upped the ante. She insisted that the DA should be ‘dissolved’ and a new party formed. This was impossible for Zille to accept, since it would have meant all the DA’s elected representatives would have lost their seats.

Speaking in London this week, Helen Zille insisted the two women were still on good terms, but that further talks on any re-alignment of South African politics would have to wait until after the next election, due in the middle of next year.

The ANC is watching the launch of Agang with some nervousness. The new party is likely to erode its hitherto impregnable electoral position. So too could the launch of a new party by the former leader of the ANC youth league, Julius Malema. It is rumoured that Dr Ramphele has raised as much as $20 million from American backers and the ANC had already used this against her. Gwede Mantashe, ANC Secretary General, not too subtly questioned Dr Ramphele’s patriotism: “We are hoping against hope that it is not an American initiative aimed at destabilising our country. Our worry is that when this initiative was announced, the foundation was in the US. We are very much alive to concerns by Western powers that liberation movements in Africa are too powerful.”

Damaging as these jibes may be, they do not go to the heart of Agang’s potential weakness – which is Dr Ramphele herself. Despite her obvious qualities, even her supporters wonder whether she really has the stamina for the long, tortuous road ahead.  She admits this will be a novel experience. “I'm not a street fighter,” Dr Ramphele said recently. “I've always played by the rules. I'm still going to play by the rules.”

These are admirable sentiments, but South African politics can be crude, dirty and – at times – violent. Will Dr Ramphele really have the stomach for the fight?

Mamphela Ramphele. 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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In defence of orientalism, the case against Twenty20, and why Ken should watch Son of Saul

My week, from Age Concern to anti-semitism.

Returning late from a party I never much wanted to go to, I leap up and down in the middle of the Harrow Road in the hope of flagging down a taxi, but the drivers don’t notice me. Either they’re haring down the fast lane or they’re too preoccupied cursing Uber to one another on their mobile phones. My father drove a black cab, so I have a deep loyalty to them. But there’s nothing like being left stranded in NW10 in the dead of night to make one reconsider one’s options. I just wish Uber wasn’t called Uber.

Just not cricket

Tired and irritable, I spend the next day watching sport on television – snooker, darts, cricket, anything I can find. But I won’t be following the Indian Premier League’s Twenty20 cricket again. It’s greedy, cynical, over-sponsored and naff. Whenever somebody hits a boundary, cheerleaders in cast-off gym kit previously worn by fourth-form Roedean girls wave tinsel mops.

Matches go to the final over where they’re decided in a thrashathon of sixes hit by mercenaries wielding bats as wide as shovels. Why, in that case, don’t both teams just play a final over each and dispense with the previous 19? I can’t wait for the elegant ennui of a five-day Test match.

Stop! Culture police!

I go to the Delacroix exhibition at the National Gallery to shake off the sensation of all-consuming kitsch. Immediately I realise I have always confused Delacroix with someone else but I can’t decide who. Maybe Jacques-Louis David. The show convincingly argues that Delacroix influenced every artist who came after him except Jeff Koons, who in that case must have been influenced by David. It’s turbulent, moody work, some of the best of it, again to my surprise, being religious painting with the religion taken out. Christ’s followers lamenting his death don’t appear to be expecting miracles. This is a man they loved, cruelly executed. The colours are the colours of insupportable grief.

I love the show but wish the curators hadn’t felt they must apologise for Delacroix finding the North Africans he painted “exotic”. Cultural studies jargon screams from the wall. You can hear the lecturer inveighing against the “appropriating colonial gaze” – John Berger and Edward Said taking all the fun out of marvelling at what’s foreign and desirable. I find myself wondering where they’d stand on the Roedean cheer-leaders of Mumbai.

Taking leave of the senses

My wife drags me to a play at Age Concern’s headquarters in Bloomsbury. When I see where she’s taking me I wonder if she plans to leave me there. The play is called Don’t Leave Me Now and is written by Brian Daniels. It is, to keep it simple, about the effects of dementia on the families and lovers of sufferers. I am not, in all honesty, expecting a good time. It is a reading only, the actors sitting in a long line like a board of examiners, and the audience hunched forward in the attitude of the professionally caring.  My wife is a therapist so this is her world.

Here, unlike in my study, an educated empathy prevails and no one is furious. I fear that art is going to get lost in good intention. But the play turns out to be subtly powerful, sympathetic and sharp, sad and funny; and hearing it read engages me as seeing it performed might not have done. Spared the spectacle of actors throwing their bodies around and singing about their dreams against a backdrop painted by a lesser, Les Mis version of Delacroix, you can concentrate on the words. And where dementia is the villain, words are priceless.

Mixing with the proles

In Bloomsbury again the next day for a bank holiday design and craft fair at Mary Ward House. I have a soft spot for craft fairs, having helped run a craft shop once, and I feel a kinship with the designers sitting bored behind their stalls, answering inane questions about kilns and receiving empty compliments. But it’s the venue that steals the show, a lovely Arts and Crafts house, founded in the 1890s by the novelist Mary Ward with the intention of enabling the wealthy and educated to live among the poor and introduce them to the consolations of beauty and knowledge. We’d call that patronising. We’re wrong. It’s a high ideal, to ease the burden of poverty and ignorance and, in Ward’s words, save us from “the darker, coarser temptations of our human road”.

An Oscar-winning argument for Zionism

Speaking of which, I am unable to empty my mind of Ken Livingstone and his apologists as I sit in the cinema and watch the just-released Academy Award-winning Son of Saul, a devastating film about one prisoner’s attempt to hold on to a vestige of humanity in a Nazi death camp. If you think you know of hell from Dante or Michelangelo, think again. The inferno bodied forth in Son of Saul is no theological apportioning of justice or deserts. It is the evisceration of meaning, the negation of every grand illusion about itself mankind has ever harboured. There has been a fashion, lately, to invoke Gaza as proof that the Holocaust is a lesson that Jews failed to learn – as though one cruelty drives out another, as though suffering is forfeit, and as though we, the observers, must choose between horrors.

I defy even Livingstone to watch this film, in which the Jews, once gassed, become “pieces” – Stücke – and not grasp the overwhelming case for a Jewish place of refuge. Zionism pre-dated the camps, and its fulfilment, if we can call it that, came too late for those millions reduced to the grey powder mountains the Sonderkommandos were tasked with sweeping away. It diminishes one’s sympathy for the Palestinian cause not a jot to recognise the arguments, in a world of dehumanising hate, for Zionism. Indeed, not to recognise those arguments is to embrace the moral insentience whose murderous consequence Son of Saul confronts with numbed horror. 

This article first appeared in the 05 May 2016 issue of the New Statesman, The longest hatred