The world of comic books is dominated by stories from the West. Two South African brothers are helping reshape that narrative with a central character inspired by the iconic hero.



Nelson Mandela had his own following at the recent Comic Con Africa convention at the end of September in Johannesburg.



At the center of all the organized chaos at the event at the
Gallagher Convention Centre attended by 71,000 visitors over four days was a
comic book bearing the late South African president’s name created by brothers
Phemelo, 28, and Omphile Dibodu, 25.



The comic book, Young Nelson, features an African superhero,
for readers in the continent and beyond.



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="819" height="1024" src="https://www.forbesafrica.com/wp-content/uploads/2019/11/69712219_2127595184208556_1696296882583633920_n-819x1024.jpg" alt="" class="wp-image-42302" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/11/69712219_2127595184208556_1696296882583633920_n-819x1024.jpg 819w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/69712219_2127595184208556_1696296882583633920_n-300x375.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/69712219_2127595184208556_1696296882583633920_n-600x750.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/69712219_2127595184208556_1696296882583633920_n-240x300.jpg 240w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/69712219_2127595184208556_1696296882583633920_n-768x960.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/69712219_2127595184208556_1696296882583633920_n-1229x1536.jpg 1229w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/69712219_2127595184208556_1696296882583633920_n.jpg 1536w" sizes="(max-width: 819px) 100vw, 819px" /></figure>



Co-founders of Rainbow Nations Comics, a black-owned comic book and publishing company established in 2018, the Dibodu brothers were born and bred in Rustenburg, known as ‘platinum city’, in South Africa’s North West province. 



Far from their hometown, the duo were in the big city for
the event, showcasing their creations to an adept audience – people dressed as
superheroes, cyborgs and zombies – who crowded around their stand and were as
colorful as the comic books they were thumbing through. 



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“Wow, that looks cool, who is Young Nelson?” asked a curious
bystander.



Phemelo was ready with his answers even as his brother
assisted with more queries.&nbsp; 



“Young Nelson is a proudly South African black comic book inspired by the late Nelson Mandela,” responded Phemelo.



In front of him, on the table, a large poster of Young Nelson, featuring a young black male with the South African flag over his shoulders and a gold-colored map of Africa emblazoned on his shirt.



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="960" height="960" src="https://www.forbesafrica.com/wp-content/uploads/2019/11/70915590_2143969049237836_5672567550701993984_n.jpg" alt="" class="wp-image-42307" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/11/70915590_2143969049237836_5672567550701993984_n.jpg 960w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/70915590_2143969049237836_5672567550701993984_n-300x300.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/70915590_2143969049237836_5672567550701993984_n-100x100.jpg 100w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/70915590_2143969049237836_5672567550701993984_n-600x600.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/70915590_2143969049237836_5672567550701993984_n-150x150.jpg 150w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/70915590_2143969049237836_5672567550701993984_n-768x768.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/70915590_2143969049237836_5672567550701993984_n-80x80.jpg 80w" sizes="(max-width: 960px) 100vw, 960px" /></figure>



This day saw the launch of the very first issue of Young Nelson titled An Act of Kindness, for R20 ($1.3) a copy.



Phemelo, the writer, and Omphile, the illustrator, say they
were inspired by Mandela and some of their own life experiences growing up.



“I think I wanted to pay tribute to the old man in a way
that it would hopefully inspire others to look at him in the way that many
South Africans see him,” says Phemelo to FORBES AFRICA.



In the story, ‘Young Nelson’ gets his nickname when he volunteers at a local boxing gym. The people watching him witness his skills and ability to solve problems, so they equate him to the young Mandela, who was famously a boxer in his youth.



“[The lead character] doesn’t like the nickname at first but
once he sees the significance of it and his heroics, how they are taken up by
the community to represent who they are, he takes the name and rolls with it
and that’s his superhero name going forward with the series,” Phemelo explains.



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Young Nelson’s real name in the comic is actually ‘Thabo Mo
Afrika’, inspired by South African president Thabo Mbeki, who succeeded
Mandela.



“ ‘Mo Afrika’ is a generic surname [which] translated into
English is ‘an African’. So I wanted to see every African seeing themselves in
Young Nelson,” Phemelo adds.



The young writer’s plan is to take his product to bigger markets, but for now, the African comic industry is a tough market to capture for lack of any funding.



“Imagine getting paid for what you are doing. That would [make a] big difference. Once people realize that their art can be compensated, more of us will actually start creating content the world would want to start reading,” he says. 



Bill Masuku, a speaker at the Comic Con event and who is
also a digital artist, shares the same sentiments.



“In Zimbabwe, where I am from, it is pretty grassroots.
Everyone is self-publishing and if you don’t really have a passion for it, the
book won’t come out,” says Masuku, who has been a part of the African comic
industry for over three years. He is the founder of Enigma Comix Africa, and
creator of Razor-Man and Captain South Africa. 



“As much as new creatives are coming out every day, what
really makes the comic book industry is distribution. And seeing that [Young
Nelson] has such widespread potential really makes me hopeful for where we are
going,” says Masuku.



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1024" src="https://www.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-1024x1024.jpg" alt="" class="wp-image-42303" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-1024x1024.jpg 1024w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-300x300.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-100x100.jpg 100w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-600x600.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-150x150.jpg 150w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-768x768.jpg 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-1536x1536.jpg 1536w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n-80x80.jpg 80w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/53559971_409471066265829_2304970625718228030_n.jpg 1920w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>



For comic books to thrive on the continent, they need a big
financial push from publishers, distributors or investors, unlike any other
medium.



The Dibodu brothers were fortunate to have been sponsored by
the Rustenburg Herald, a weekly local newspaper in Rustenburg.



“The problem with creating by yourself is that you can only
create at a certain rate and you do burn out. So you find people who have been
making comics who have three or four issues out and it’s easy to forget about
them as a consumer,” he adds.



Globally, platforms like Weekly Shōnen Jump in Japan make it
easy for Japanese creatives to publish their work as the comic book and manga
industry is thriving there, making it one of the best-selling magazines. Weekly
Shōnen Jump has sold over 7.5 billion copies since 1968.



But the African comic industry has a long way to go.



Kugali, a digital platform founded by three entrepreneurs
and friends from Nigeria and Uganda, is designed to help people find and share
the best African narratives and comics. It is an entertainment company that
focuses on telling stories inspired by Africans, offering much-needed exposure
to young creatives such as Masuku and the Dibodu brothers. For now, the
reception the Dibodus are receiving give them some hope.



“It’s been awesome and inspirational. I didn’t know people
felt the same way as me. It’s amazing when people are [reading] the story of
the character and people are saying ‘you know what, that’s what we need’,” says
Phemelo. At the end of Comic Con, they managed to sell over 300 copies of Young
Nelson.



“People are catching onto the culture. I think it might even
grow bigger than the American industry only because I think we are a very
artistic community… Whether you look at the hieroglyphics in Egypt or the cave
paintings by the bushmen in South Africa, we draw,” he says.



He also plans to sell his comics to local book stores in the country.



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1018" src="https://www.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-1024x1018.png" alt="" class="wp-image-42306" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-1024x1018.png 1024w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-300x298.png 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-100x100.png 100w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-600x597.png 600w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-150x150.png 150w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-768x764.png 768w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-1536x1527.png 1536w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster-80x80.png 80w, https://cms.forbesafrica.com/wp-content/uploads/2019/11/Young-Nelson-Poster.png 1920w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>



The team is currently working on their next creation – a
black African female superhero called Imbokodo.



“We are looking for new creators we can partner with and
create our own justice league, our own Avengers, to actually have young kids in
South Africa look at their heroes the same way Americans look at their heroes
in the Comic Cons to come.” 



Young Nelson is a refreshing reminder that not all heroes wear capes.

RNC – Phemelo Dibodu (left) and Omphile Dibodu (right)

Colors For Mandela

South Africa survived colonialism followed by apartheid, and
most recently, a new pandemic, HIV/AIDS. While we are living through the
aftermath of the old order, the words often attributed to Italian philosopher,
Antonio Gramsci, could not be truer: “The old is dying and the new struggles to
be born. Now is the time of monsters.”



The dragons we need to slay are clear. We have unacceptably
high levels of poverty, youth unemployment, child illiteracy and nutritional
stunting. All of which are systematically undermining the next generation’s
ability to enjoy freedom. 



That said, these are but the more visible aspects of our
life together. There are others – the more subtle, social dimensions. 



In 2019, non-racialism – the bedrock of the new South Africa
– struggles to find relevance in the public imagination in light of the
disillusionment many experience in the new political dispensation. It remains
devoid of substantial weight and consequence.



Its original purveyors did not theorize it or write about it
extensively, making it all the more elusive. What we do know is that race is a
social construct and that it has no biological grounding. While it does not
exist in a scientific sense, race has profound political, social and economic
implications. And it continues to be an undeniable fault-line within South
Africa. 



What is clear is that non-racialism does not mean
not-seeing-race-ness. In this lesser sense, it mimics the American notion of a
post-racial society. It is based on the myth that 1994 symbolized a tabula rasa
– a blank page. But 25 years later, the past haunts us. 



<div class="wp-block-image"><figure class="aligncenter"><img loading="lazy" decoding="async" width="387" height="594" src="https://www.forbesafrica.com/wp-content/uploads/2019/04/gettyimages-144859349-594x594-2.jpg" alt="" class="wp-image-40401" srcset="https://cms.forbesafrica.com/wp-content/uploads/2019/04/gettyimages-144859349-594x594-2.jpg 387w, https://cms.forbesafrica.com/wp-content/uploads/2019/04/gettyimages-144859349-594x594-2-300x460.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2019/04/gettyimages-144859349-594x594-2-195x300.jpg 195w" sizes="(max-width: 387px) 100vw, 387px" /><figcaption>Mural depicting 1st election in new South Africa, 1994 opposite Parliament, Cape Town, Western Cape (Photo by Hoberman Collection/UIG via Getty Images)</figcaption></figure></div>



In our public life, we often find ourselves in a
rinse-and-repeat cycle in which an offensive action is followed by public uproar
and reactive debates. In this polarizing space, the spotlight remains on rabid
racists, leaving implicit and internalized anti-black racism unchecked – both
of which affect most South Africans.



Political entrepreneurs – understanding the wounds we carry
as a nation – capitalize on the moments of uproar by playing on these
incidents. What happens in the context of the misuse of our racialized
experiences is that well-meaning citizens opt to shun any references to race in
order to maintain respectability. This tempts us to see race talk as
unproductive rhetoric, and not as a useful language to name our experiences
with one another in this country.



In our public life, talk about the past has similarly been
weaponised. Our history is either denied or it is deployed to delegitimize, to
silence, and to condone the inexcusable. But it is exactly in this moment that
we need more robust and critical engagement with our histories and their
effects in the present – not less.



When we actually grapple with the historical records, the
findings are chequered. History refuses to simply serve as a pass or a trump
card. It is far too unruly and intricate to merely be functional. History
demands to be reckoned with as a way of understanding the processes that led to
the present. A more accurate way of understanding it is as an unfinished story.
It has no end and it implicates us all. 



A way we can begin to participate in the unfolding of our
history is to infuse non-racialism with substance. We need a larger project
that rigorously surfaces our experiences at the coalface of the color line.
Scholars in the social sciences and the humanities as well as fiction writers
have no doubt begun this theorising labor, and their work has to make its way
into the mainstream. The process of naming the thousands of experiences we have
with each other can begin to inform our imagination about what it means to
simultaneously be inclusive, rooted in Africa and released from Europe’s orbit.



The project of naming our experiences for ourselves is an
act of power. In fact, the true might of colonialism and apartheid lay not in
their arsenal but in their ability to name us, define our borders, to codify
our laws, and thus, frame our self-imagination. 



In this moment, as South Africa reaches the quarter of a
century mark, it is imperative that we take a fresh look at the past. Not
merely as a story of victory, but as an incomplete struggle. At 25, all South
Africans need to join the struggle, knowing that aluta continua and that the
country we inherited in 



1994 is ours to continually liberate. 



We are part of the same cast of characters in history’s
production of South Africa, and we are on the stage now. 



– Dr Sebabatso Manoeli is a historian and non-profit professional. She serves as an Innovation Director at the DG Murray Trust. Previously, she was a History Lecturer at the University of Oxford, and at Stanford University’s Montag Center for Overseas Studies. She consulted for the African Union Commission’s Department of Political Affairs and the Centre for the Study of Violence and Reconciliation on transitional justice, as well as the African Peer Review Mechanism.

gettyimages-50598988-594×594

Over The Rainbow: 25 Years Of Freedom For South Africa

At the well-attended launch of her book Good Morning, Mr Mandela in Johannesburg in June, Zelda la Grange, Nelson Mandela’s trusted aide who he called ‘Zeldina’, was introduced “as the person who walked in the same steps as one of the greatest legends”. Archbishop Desmond Tutu said in a televized message on the occasion: “Your utter devotion to Madiba was so obvious to anyone…In many ways, it was a symbol of hope for the new relationships in our country.”
La Grange says ‘Khulu’ (grandfather) or Madiba always knew she would write a book. The Afrikaner, who was brought up in apartheid South Africa, started as a typist in the office of the first democratically elected South African President in 1994 at the age of 23, going on to work with Mandela in various capacities for 19 years. She started penning down her thoughts in 2009, “not for the purpose of it becoming a book, but to offload memories”.
“It’s a personal memoir and I want people to read the book and be inspired by my change,” said la Grange, ahead of the launch, when we caught up with her for more:
<img loading="lazy" decoding="async" class="alignleft size-medium wp-image-6395" src="/wp-content/uploads/2017/05/8-300x212.jpeg" alt="" width="300" height="212" />
Can you describe your first meeting with
Madiba in 1994 at the Union Buildings?
I bumped into him, he extended his hand and I said ‘Good morning, Mr Mandela’. That was the turning point of my life.
He broke all my defenses. I was brought up to believe this person is my enemy, and when he spoke to me in Afrikaans, I felt guilty and started crying. I felt responsible, that my people and I were brought up to believe that he is the enemy. And yet you can see the sincerity on his face, his smile; and [I was thinking] why was I so afraid of him. It was in complete contrast to what I expected and I cried. He told me at that first meeting I was overreacting.
Did you draw any criticism in the early years when working for him?
At first, there was a lot of criticism within his own political circles, about why he chose a white woman. He was very careful to relate that story to me at first, knowing I was sensitive and after a while, he would joke about it. He would repeat the entire conversation and say: “Can you believe they would say this?”
It also provided people with entertainment. Madiba’s and my sense of humor had a strange similarity; so we would joke about even these things. He was always looking for humor in any situation. There is nothing laughable about being in prison for 27 years, but he was always trying to find the lighter side of things.
Did he ever get angry?
He had vices and virtues like everyone else. He was a very determined, almost hotheaded person. You couldn’t sway him once he decided something. You knew not to mess with him when he was angry. [But] Madiba didn’t hold grudges, he would get over something very quickly but you would know exactly how he felt. If you look at the CODESA negotiations, he was really angry at F.W. de Klerk at some point – the photographers managed to capture his body language beautifully. He managed to change the narrative. He always had this mindset of reconciliation, of unity, and there was a strategy behind whatever he did.
How was the transition once he retired from the Presidency?
The morning after his retirement was quite a wakeup call. We thought we would pretty much have access to state resources, and we could rely on certain things from the government, but any retiring head of state is in for a full surprise. We had no media protocol, no foreign affairs – all of that was gone.
You have traveled widely with him. Any memories?
I am reminded of our visit to Iran, during President Khatami’s presidency. In the book, you will see how important women’s empowerment is for Madiba. He insisted on me going to the palace where women are not allowed. So we went to dinner at the President’s residence, and there were only male bodyguards and security. I was fighting off photographers, as Madiba’s eyes were sensitive to flashlights. I tried staying in the back so not to offend anybody with my presence. It was very noticeable I was the only female there. A butler then sent for me, and Madiba said, “Oh Zeldina, the President wants to have supper with you.” The whole time, the President asked about South Africa, and Madiba would not answer; so I had to speak. I was put on the spot.
Did you get to spend enough time with him in the final years?
The later years, from 2008, when he started slowing down, he stopped all public appearances and meetings. There was no business any longer to discuss. I tried to go once a week to Qunu [to meet him], more on a personal basis.
How did you come to terms with his passing?
Those ten days of the funeral, I will never want to relive again. You have to deal with the outpouring of emotions from the outside world, and you don’t have time to deal with your own emotions. I still find myself thinking, has it really happened, is he really not there anymore? I have never lost anyone close to me. I am very fortunate. Both my parents are still alive. This is a very new experience for me.
Are you still in touch with
Graça Machel?
<img loading="lazy" decoding="async" class="alignleft size-medium wp-image-6394" src="/wp-content/uploads/2017/05/36-300x205.jpeg" alt="" width="300" height="205" />
I am very close to her. She is true to her name; she epitomizes grace and strength and has been an emotional stronghold for all of us, through his illness. She was not there only for Madiba, but for us as well.
What kind of work are you
involved in now?
I am still contracted with the Nelson Mandela Foundation; at present [I take part in] leadership courses for the foundation, and I do a bit of motivational speaking, just telling people my story and conveying the lessons I have learnt.
Did you ever think you put your life on hold?
I think I have gained so much, and have been so exceptionally privileged that I wouldn’t say I put my life on hold really. It evolved into something greater. My working hours were nonstop. When Madiba was President, he would call at 2AM and say, can you get hold of Minister Trevor Manuel? I didn’t go for a movie for 10 years. I was too scared he would call and I wouldn’t be able to help him.
You were very special to him?
It would be incorrect to say I was the only one, or the special one. There were other people who played vital roles in his life. My role was confined to his public life, so people need to see it in the context of my duties.

How Madiba Changed Me

With its fifth round of democratic elections slated for next year, South Africa has much to be proud of as it looks back on the achievements of the past 20 years. Thanks to reconciliation efforts, the Rainbow Nation navigated a difficult political and social transition with poise—something many countries have attempted, but rarely with such success.
Its films have won Oscars, its stadiums have hosted World Cups and its leaders have won Nobel prizes. Since 1994, the economy has transformed dramatically, absorbing 3.5 million new jobs and with a quarter of the continent’s GDP, it has successfully held the crown as the largest, and arguably most sophisticated and open, market in Africa.
However, the country still has one of the highest gini coefficients in the world, at above 0.63, indicative of the lack of inclusive growth. Unemployment is high and infrastructure is beginning to grapple with increasing demand. With South Africa’s GDP growth projected at roughly 2% for 2013, it is only a matter of years before Nigeria, expanding at rates of 7%, overtakes it as the continent’s economic heavyweight.
As a result, assessing the current state of the country and its performance requires a nuanced understanding of both the strengths that provide it with such potential and the weaknesses that threaten to undermine its progress.
The country’s fundamentals are in rude health. South Africa has a number of key competitive advantages. With more than $2.5 trillion worth of mineral reserves and the potential for commercial shale gas production, it boasts enormous natural wealth. Its business environment is among the strongest on the continent, with low interest rates, clear investor rights and a comparatively streamlined bureaucracy.
South Africa’s political system is fairly robust, and while the successive victories of the African National Congress (ANC) have caused complications of their own, the levels of voter turnout regularly exceed 75%, which is up to 10 percentage points higher than Britain.
The relative quality of infrastructure also provides an excellent base for expansion—South Africa’s national utility provider Eskom, which does nonetheless grapple with high demand, still accounts for just under half of all the electricity consumed in Africa.
Similarly, the penetration rate for financial services—an indicator of both consumption and potential for leveraged growth—in terms of the percentage of the population that has access to formal credit products is nearly three times the continental average. South Africa’s regulatory frameworks for its banks—which include the four largest in Africa—are among the most robust of any Organization of Economic Co-operation and Development (OECD) countries, and were rated third globally by the World Economic Forum (WEF) in terms of soundness for 2013-2014.
However, in spite of all these attributes, South Africa’s long-held position as the gateway into Africa is increasingly under challenge. The country’s sophistication is in part responsible for this. It is among the most-globally integrated markets in Africa, which has left it highly exposed to the continuingly depressed levels of export demand in key markets like the European Union, as well as to portfolio outflows which have left the rand vulnerable.
While the benchmark interest rate, unchanged at 5% for several consecutive quarters, is being kept at historical lows in an effort to stimulate lending, it still exceeds the average repo rates available in much of Europe, North America, and Japan; in turn attracting yield chasers.
But there are also stubborn challenges. Much of the country’s physical and social infrastructure is aging and in need of revamping. South Africa’s electrification rate—at 75% nationally—is the highest on the continent but a narrowing gap between supply and demand has led to load-shedding, which has constrained output and emphasized the need for new base load capacity. High levels of youth unemployment have led to social unrest. Wealth inequality is still high, but with a debt-to-GDP ratio that rises to 60% with off-budget commitments, the ability of the government to pay for social grants and benefits to the current 16 million recipients is becoming increasingly strained.
These challenges are taking their toll.
South Africa’s overall growth is expected to increase modestly in 2014, but still remain below 3%. The expected changes to poverty and unemployment levels are expected to remain minimal.
In the latest WEF Global Competitiveness Report, South Africa fell one spot from 52nd to 53rd out of 148 nations surveyed. The change in ranking reveals a mixed bag of both positives and negatives. With the overall score bolstered by top-five ratings in areas such as financial market development (3rd); auditing and reporting standards (1st); and accountability of its private institutions (2nd), but dragged down by an educational system (146th); labor market efficiency (116th); and burden of government regulation (116) that are rated poorly and place in the bottom 50.
A glance at the some of the country’s key sectors helps illustrate both the country’s potential and its weaknesses. With minerals accounting for around 60% of exports, the sector serves as a barometer and proxy for how the performance of the wider economy. South Africa is the largest producer of platinum group metals in the world, and in the top five for a host of other minerals and metals, including coal and gold. However, labor unrest, rising costs and slowing demand have contributed to more constrained output and concerns over mine closures.
The automotive sector provides a similar example. Constituting around 6% of GDP and 12% of exports, and hosting manufacturing and assembly plants for major international car makers like BMW, Mercedes, Toyota, General Motors and Volkswagen, automotives is often cited as an industrial success story and referenced as an example of what the country can achieve through targeted and proactive legislation and cooperative engagement between government, business and labor. Yet, the automotives industry is coming off a month-long strike during which exports fell 75%, costing manufacturers $2 billion.
For South Africa to unlock its potential, structural reforms are needed. Key to this will be the effective implementation of the National Development Plan (NDP) which is intended to form the strategic base for policymaking until 2030. The initiative seeks to rein in further rises in recurrent spending, while channelling more funds towards specific capital expenditures.
Alongside the New Growth Path (NGP), an economic policy focused on job creation, and sectoral policies such as the Industrial Policy Action Plan (IPAP), the NDP offers significant scope for mitigating the country’s weaknesses and encouraging a significant increase in secondary and tertiary activity. It will not be easy, but it offers a clear road map to strengthening South Africa’s comparative advantages in a more inclusive and sustainable manner.
Ultimately, assessing South Africa is all about context. Both its potential and accomplishments are vast, and many developed economies in the world would happily swap balance sheets. Over the past two decades, South Africa has seen its share of up and downs, although the pros have outweighed the cons. The outlook for the coming years may be murkier, and the obstacles more intransigent and complex, but the country’s healthy fundamentals and past performance provide reason for optimism.

Is There Still Gold At The End Of The Rainbow?

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I will go to school and study hard. I’ll be a success. I promise mama,” vows 10-year-old Lucky, at his mother’s grave. Lucky (Sihle Dlamini) gathers his few belongings, and like so many other South Africans leaves his rural Zulu village to the city.
Lucky (2011) is a poignant depiction of contemporary South African society and its problems. It explores the complex cross-cultural and racial relationships. It steers away from well-worn depictions of relations between black and white South Africans as depicted in archetypal post-apartheid South African films. The film explores the rainbow nation through relations between black and Indian South Africans. The film is in Zulu and Hindi with English subtitles.
Lucky’s arrival in the city is overshadowed by his uncle, Jabulani, (James Ngcobo) who has spent the schooling money—from the boy’s mother—on alcohol and women. He hands the boy an audio cassette with a final message from his mother. Jabulani says the youngster should make himself useful by finding a job instead. The boy sleeps hungry on the doorstep.
The film tracks the relationship between Lucky and Padma (Jayashree Basavaraj) who lives in the same building as Jabulani. She is his only hope of listening to the audio cassette. The Brahminic Indian widow, receives him with caution. She does not disguise her racial prejudices when she handles the audio cassette with a cloth and uses her walking stick to prod Lucky. The boy sleeps on her balcony, behind locked doors and drawn curtains, in a manner adopted by many South Africans in the face of poverty and guilt; Lucky is shut ‘out of sight, out of mind’.
Padma cares for the boy, but what seems to be a sudden change of heart, is actually a façade to receive a R200 government grant allocated for AIDS orphans. In return for cleaning her house, she sends him to school.
Together they undertake an emotional journey to Lucky’s village to escape from his neglectful uncle. Here they are met with the deeply-ingrained stigmas associated with AIDS, the disease which took Lucky’s mother. “Mother told me not to share food with you because you will spread the disease,” he is told by a girl from his village. Together with Padma, he goes in search of Dumisani (Vusi Kunene), a man who was believed to be dead and who might be his father. Dumisani, a funeral singer, is a constant reminder that in the midst of life we encounter death. The musical score, written by Phillip Miller, features African instruments and allows Kunene to explore his musical range.
Over time Padma’s maternal instincts overcome her Brahminic racism when she sells her belongings to help the boy. In a heart-warming scene, their bond transcends the language barrier when they talk about family, over Padma’s open family photo album.
This is award-winning writer and director, Avie Luthra’s, second feature film. It is based on the 2005 short film, by the same name, which won 47 awards. “Improvisation made the scenes and relations between the actors appear real and believable,” he says.
Willie Nel was well cast as the director of photography. The hand-held nature of the cinematography gives the film an authentic feel, allowing for a sense of voyeurism. “We wanted to strike a balance between documenting the story moments, and creating an intimate connection with our characters,” Luthra says. The camera attempts to go unnoticed, it hides behind grass, balconies, window panes and burglar bars. By doing so it simultaneously delineates the divide between characters to illustrate that understanding and compassion are needed for real reconciliation and to break down prejudice.
The film will be released on July 21 in South Africa; and is expected to be released in other parts of Africa in the coming months.

Tag: Rainbow Nation

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