Politics
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Could Justice Finally Be on the Horizon for Marikana Massacre Families?

New evidence suggests that the police intended to kill all along.

Today marks the sixth anniversary of the Marikana Massacre, when 34 mine-workers were gunned down by police after several days of wage disputes at Lonmin Mine in Rustenburg, North West province. New information was recently uncovered that undermines the police's longstanding claim that they acted in self-defence. If anything, it is a glimmer of hope for the families of the victims that remain left behind in the aftermath of that tragedy.

It was the worst mass civilian killing since the 1960 Sharpeville Massacre, where South African protesters were killed for opposing the Apartheid regime. The Marikana Massacre, in contrast, was the tragic consequence of week-long wage disputes and clashes between miners and the South African police.

While media footage appears to show the miners as the victims, police have always argued that they were acting in self defence. Consequently no officers involved have been charged. Instead, the surviving mineworkers face murder charges under the doctrine of common purpose. But unnerving facts have come to light that seem to make the police argument even less likely. This includes the ordering of 4000 rounds of live ammunition and several vans from the mortuary the day before the massacre.

I cannot even begin to unpack my anger and frustration at this terrible irony.


A recent report from the Institute for Security Studies (ISS) shows a reconstruction of the events of that fateful day. It sheds light on how, in what they have since termed "Scene 2" (the site where police fired 295 shots and killed 17 mineworkers), it is evident that not only did the mineworkers not shoot at the police but that the police acted in both a reckless and irresponsible manner. Camera footage taken by police officers themselves and that was subsequently leaked, showed police officers stalking surviving mineworkers after the initial hail of bullets through the grassy plains and proceeding to shoot them dead. One young man was shot twelve times. Twelve times. In the camera footage, one can clearly hear a police boasting unabashedly at having shot the young man down like an animal.

"I have wept because I suddenly realised that even black people, my own people, could kill us just as maliciously as the system of whiteness does and has always done. Let that sink in."

I have watched countless documentaries on the Marikana Massacre and every time I have simply wept. I have wept because in one instance there are men saying "come and see how we live, how we have nothing" and in the next instance, they are taking their last breaths in front of the entire world. I have wept because a grown man, the president of AMCU, the trade union representing the mineworkers, wept because he felt he had failed his men. I have wept because the image of Noki, the spirited man in the green blanket, has refused to dislodge itself from my mind. And lastly, I have wept because I suddenly realised that even black people, my own people, could kill us just as maliciously as the system of whiteness does and has always done. Let that sink in.

The uncovering of this new information is extremely important if justice is ever going to be served for the deceased mineworkers, the surviving mineworkers who now face murder charges and the families left behind and who are still living in abject poverty. The police must be held accountable. Riah Phiyega, then National Police Commissioner, needs to account for the actions of the police under her leadership. The role of the now President Cyril Ramaphosa needs to be interrogated much further than it has been. I frankly don't buy the "I did not sit on the executive board of Lonmin and thus was unaware." Yes, he did not sit on the executive board but this is man has made it his business to understand and involve himself in the inner workings of the companies he's invested in and was the first Secretary General of the National Union of Mineworkers (NUM) and thus worked very closely with the various mining communities. You mean to tell me he had no clue whatsoever as to the emails that were sent back and forth between Lonmin executives and the police days before the massacre? He had not so much as a whiff of what was to come, even if it was only minute? I strongly believe that he must have known to some degree what lay ahead for those mineworkers on that day and he needs to own up to it. I really don't care for the promise which he made at Winnie Madikizela-Mandela's funeral where he said he would go and visit the widows of Marikana along with Julius Malema. He must account for what happened first.

The country's heart continues to bleed six years later. I cannot even begin to imagine the grief of the actual families whose lives have forever changed or the anxiety of the mineworkers who are now being charged with murder—their punishment for having survived the horror.

My highest and perhaps most naive hope, is that if nothing else, that the lives lost, both physically and otherwise, will be atoned for and that the righteous laws of this country will eventually prevail.

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University lecturer and activist Doctor Stella Nyanzi (L) reacts in court as she attends a trial to face charges for cyber-harassment and offensives communication, in Kampala, on April 10, 2017. (Photo by GAEL GRILHOT/AFP via Getty Images)

Jailed Ugandan Activist, Stella Nyanzi, Wins PEN Prize for Freedom of Expression

The outspoken activist, who is currently serving a prison sentence for a poem she wrote about the president's mother's vagina, won for her resistance "in front of a regime that is trying to suppress her."

Stella Nyanzi, the Ugandan academic, activist, and vocal critic of President Yoweri Museveni has been awarded the 2020 Oxfam Novib/PEN International award for freedom of expression, given to writers who "continue to work for freedom of expression in the face of persecution."

Nyanzi is currently serving a 15 month sentence for "cyber harassment" after she published a poem in which she wrote that she wished "the acidic pus flooding Esiteri's (the president's mother) vaginal canal had burn up your unborn fetus. Burn you up as badly as you have corroded all morality and professionalism out of our public institutions in Uganda."

According to the director of PEN International, Carles Torner, her unfiltered outspokenness around the issues facing her country is what earned her the award. "For her, writing is a permanent form of resistance in front of a regime that is trying to suppress her," said Torner at the award ceremony.

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Watch the First Episode of Flame’s Documentary Series ‘Welcome To My Life’

Flame takes fans behind the scenes in his new documentary series.

From interviews to smoking sessions, performances, studio sessions and a visit to the hair salon, Flame gives fans a glimpse into his life and adventures.

The South African hip-hop artist and producer shared the first episode of an ongoing documentary series titled Welcome To My Life. The first episode, which he shared today, shows Flame and his affiliates—the likes of Ecco, Mellow and others—going about their business.

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5 Women Doing Amazing Things Behind the Scenes in South African Hip-Hop

Behind every successful South African rapper of the last decade is a woman helping to get ish done. Helen Herimbi spoke to a few of them.

South African hip-hop had a great run in the last decade. As we start a new era, it's important to highlight the women who have played a pivotal role in the growth of the genre.

​Thuli Keupilwe

Thuli Keupilwe is the founder of LAWK Communications, an artist booking and representation agency that now works closely with the likes of DJ Maphorisa and Kabza de Small.

But she's not all about the yanos. Thuli has worked with urban music brands like Dreamteam SA and Homecoming Events, but in 2016, she cast her booking agent net wider and started LAWK Communications where she worked with DJs Capital and Sliqe.

The following year, Thuli received a phone call that would force her to level up. "Boom," she exclaims. "February 2017. PJay from B3nchMarQ called me. I was the one that pushed A-Reece to get onto his first Maftown Heights around 2014 and we're all from Pretoria so I'd known them since forever."

B3nchMarQ and A-Reece were gearing up to leave Ambitiouz Entertainment and when she agreed to be their booking agent, Thuli hadn't anticipated how much it would stretch her. Partly because the artists weren't initially permitted to perform their own songs—problematic for an agent who is meant to book them for gigs.

"I didn't see that coming at all," she says. "I was going up against the big guys, people I looked up to. I realized I needed to get a lawyer." Eventually, the artists were legally permitted to gig. "I had one of my biggest years with Reece after that. I am still with him till today."

A-Reece had managed to amass an enviable fan base size mostly from his online and streaming presence. Thuli works closely with him and counts using A-Reece's "Rich" song in a sync deal with the gambling website BET.co.za as a milestone in their partnership. "It was a good check," she chuckles. "And he was being himself and that's the most important thing to me."

Kay Faith

Authenticity has been the drive behind Kay Faith's work. The Cape Town-based engineer, producer and budding vocalist began her career behind the boards during sessions for the likes of Yasiin Bey, Nasty C and E-Jay.

She put out her own EP, In Good Faith, in 2017, and in 2018, she became the first female producer in the world to be featured on Apple Music's New Artist Spotlight.

She has also given us hip-hop bangers like "Slam Dunk" by Da L.E.S and YoungstaCPT. The latter is a frequent collaborator of hers. So much so that when his album 3T won the Best Album category at this year's South African Hip Hop Awards, she felt it was a win for her too. Especially since projects she'd worked on had been nominated and lost before.

Read: Meet The Woman Engineering Your Favorite South African Hip-Hop Releases

"When we started [the song] 'YVR,' I had this emotional feeling that it would be something big for Cape Town," Kay excitedly says. "From recording to mixing to mastering and featuring as a vocalist on 'The Cape of Good Hope' and 'KAAPSTAD NAAIER,' I was behind all of 3T. I even co-produced the 'Pavement Special' intro and the 'Outro' with Chvna.

"We spent 11 months crafting and him trying to get it to be perfect so it was a surreal feeling when we won Album of the Year. I even sent out a tweet saying: 'Can we just take a moment to realize that the South African Hip Hop Album of the Year was entirely engineered by a woman?'"

Kay's upcoming album, Antithesis is slated for a 2020 release. "It's going to be the first album of its kind, I believe," she says. "And I'm really trying to play with that idea of being the antithesis of hip-hop. I am a woman, an Afrikaans kid, in hip-hop. When I walk in, people don't expect me to be an engineer or a hip-hop producer and when I roll out my accolades, then they're like, 'damn, Kay's got game.' That reaction is what this album is about."

Phindi Matroshe

For Phindi Matroshe, the outside reaction to her work is not the most important thing. Phindi is a publicist and talent manager who owns At Handle, a PR and social marketing solutions firm. She was there before Nadia Nakai became a Reebok or Courvoisier ambassador and before she had sold-out ranges with Sportscene's Redbat.

She was also there when Nadia bagged a Best Female pyramid at the 2019 South African Hip Hop Awards. And she was right beside her when she scooped awards at AFRIMA 2019 for Best Artist, Duo or Group in African Hip Hop as well as Best Female Artiste: Southern Africa.

"Winning awards was never the mission," Phindi confesses. "Honestly, we have never done things to try and get awards. Nadia truly loves what she does and it feels great when that is acknowledged and someone pats us on the back for work we've done. I really love and respect what I do and don't see it as a job."

Having handled publicity for the likes of JR, Tumi Masemola (of Gang of Instrumentals), Shane Eagle, Major League DJs and more, Phindi pivoted to managing Nadia. She says: "Seeing the things we talk about come to life or when we're in the boardrooms signing those deals, those are personal milestones for me."

​Ninel Musson

Ninel Musson has been brokering some of hip-hop's biggest deals for over a decade. She co-owns Vth Season, a boutique full-service entertainment marketing agency with Raphael Benza.

A former party promoter and publisher of the wonted.co.za website, Ninel helped start a record label wing of Vth Season where AKA was their first signee. Together, they turned AKA into a mainstream success that the artist could bank on when he started the now defunct BEAM Group independent record label with Prince Nyembe in 2016.

Recently, Ninel and Benza, together with the Sony Music team, presented AKA with diamond and platinum plaques for several songs at a surprise dinner. "The music we went on to create became some of the best-selling records of all time in South Africa," Ninel says matter-of-factly. "When we started with him, the major labels said SA hip-hop would never go this far. We said we believed it would and then we did."

​Sibu Mabena

Cassper Nyovest seems to make it a point to work with women. In addition to Cassper's sisters running his Family Tree store, several Fill Up dates have seen PR maven, Sheila Afari at the helm. And while it's clear that the Fill Up series was always the brainchild of Cassper and his longtime friend and business partner, T-Lee Moiloa, bringing it to fruition has also included the skills and power of women behind the scenes. Women like Sibu Mabena, a multi-hyphenate creative entrepreneur who owns the Duma Collective.

"The day I landed back home from the EMAs, I went straight to The Dome," she remembers. "I said: 'yo, T-Lee, give me a job. I want to work on this thing.' He was like: 'bra, there's nothing for you to do.'" Sibu stuck around at the Dome, watching the production come together when a lightbulb went on in her head.

Read: Sibu Mabena Works Behind The Scenes in South African Hip-Hop, And She's Kicking Ass

"I thought: 'Cassper has 11 outfit changes. Who is helping him with those?' So Gareth Hadden from Formative, who was building the stage, said they needed someone to help with those changes. I forced myself into the Dome, and the next year I pitched to T-Lee to run the stage at Orlando Stadium. The following year was Fill Up FNB Stadium and there, I got a bigger job to run the talent operations. That's how we started doing the Fill Up Intern Search."

In the next decade of Mzansi hip hop, Sibu has her heart set on parties with a purpose. "All the things I have learnt along the way have led me to contribute to AKA's Fees For All Mega Concert," she shares. "I'm not coming on as just a creative or event organiser or marketer. It's demanding all of me. We're all tapping into a more philanthropic and less commercial role than we usually have so the pressure is that much greater."

There are plenty more women who've got game. From Lerato Lefafa, who has been a part of the team that brought us the SAHHAs and Back to the City to Bianca Naidoo who is a big part of Riky Rick's triumphant trajectory to women like Spokenpriestess, Caron Williams, Azizzar The Pristine Queen, Loot Love and way more who have, in the last decade, used their media platforms to lift up Mzansi hip-hop. In the next decade, women will still be a huge part of hip hop. It'll be interesting to see where that contribution takes the movement next.

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Photo courtesy of CSA Global.

In Conversation with Congolese NBA Player Emmanuel Mudiay: 'I want more African players in the NBA.'

The Utah Jazz player talks about being African in the NBA, supporting basketball in the DRC and how 'everybody knows about Burna Boy'.

Inspired by his basketball-playing older brothers, by second grade, Emmanuel Mudiay already knew that he wanted to play in the American National Basketball Association. Then in 2001 his family, fleeing the war in Democratic Republic of Congo, sought asylum in the United States.

In America, Mudiay saw basketball as a way for him to improve his situation. After impressive high school and college careers, he moved to China to play pro ball. Picked 7th overall in the 2015 NBA draft, the now 23-year-old guard has made a name for himself this season coming off the bench for the Utah Jazz.

Mudiay attests to the sport having changed not only his life but that of his siblings. Basketball gave them all a chance at a good education and the opportunity to dream without conditions. Now he wants to see other talented African players make it too.

We caught up with him to talk about his experience as an African player in the NBA, his hopes for basketball on the African continent and who he and his teammates jam out to in their locker rooms.

This interview has been edited for length and clarity.

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