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17 April 2018 Photo Valentino Ndaba
Researcher probes into military presence in politics - Dr Hlengiwe Dlamini
Dr Hlengiwe Dlamini, a postdoctoral Fellow at the International Studies Group at UFS questions the nature of Zimbabwe’s leadership change in her research.

Was Zimbabwe’s leadership transition in 2017 a classical coup d’état, an unconstitutional change of government or a legal political process? Dr Hlengiwe Portia Dlamini, a postdoctoral Fellow at the University of the Free State’s International Studies Group (ISG), employed this contentious question as the backdrop to her paper titled: “The Paradoxes of Accepting/Rejecting and Constitutionalising/unconstitutionalising the 2017 Zimbabwe coup d’état through the Prism of the Organisation of African Unity and African Union Framework.” She presented her findings at the Stanley Trapido seminar held on 9 April 2018 at the Bloemfontein Campus.

Zimbabwe’s military facilitated the removal of former President Robert Mugabe from power after a 37-year rule. Dr Dlamini’s stance is that the events of 14 November 2017 were a trailblazer for a new form in coup across the globe. In veering from conventional coup elements and adapting alternative terminology in reference to overthrowing Mugabe, Zimbabwe’s military has set the pace for the rest of the world as far as the intertwining of military and politics is concerned.

Remembering 14 November

On the evening of 14 November 2017 the Zimbabwe defence force gathered around the country’s capital, Harare, and seized control of the Zimbabwe Broadcasting Corporation and other key areas of the city. A day later the situation escalated when military spokesman Major General Sibusiso Moyo addressed the citizens via television assuring them there was no military takeover of the government. 

Mugabe’s resignation was announced on 24 November 2017 following a motion of impeachment and a vote of no confidence reinforced by a joint session of parliament and the senate as well as the ruling Zanu–PF party. 

Military and politics intersections
According to Dr Dlamini, Zimbabwe High Court Judge, retired Brigadier General George Chiweshe, justified the military intervention in November 2017 as legal, thereby setting a dangerous precedent for political change in Africa.  

Prompted by the premise that the military overthrow of governments is no longer treated as a domestic issue in the post-cold war era, Dr Dlamini argues that it has become the business of the African Union and donor organisations to intervene and stop coups when they threaten. This explains why, according to Dr Dlamini, the Zimbabwe military establishment struggled to conceal the removal of Robert Mugabe from power as a coup for fear of attracting the wrath of the African Union and other organisations. 

Whether Zimbabwe’s crisis was merely a military response to a popular call by disgruntled citizens or a coup is left to contextual interpretation. 

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Award-winning photographer exhibits ravages of war, 25 May 2016 until 17 June 2016
2016-06-02

Description: Unsettled exibition Tags: Unsettled exibition

The ruins of the Dimbaza Border Industrial Park built
in the 1970s as a source of cheap labour for industrialists
and ostensible employment for Ciskei Homeland citizens.
This industrial zone collapsed after 1994.
Photo: Images courtesy of the Galerie Seippel. 
All images © Cedric Nunn

Cedric Nunn’s latest photographic exhibition, Unsettled: One Hundred Years War of Resistance by Xhosa Against Boer and British, opened on 25 May 2016 at the Johannes Stegmann Art Gallery of University of the Free State, and will run until 17 June 2016. Since 2014, the exhibition has travelled through South Africa and the USA as well as Germany.

The photographer, documentary film-maker, and artist’s photographic journey was launched in the early 1980s in Durban. In 2011, he won the first FNB Joburg Art Fair Award.

Narratives of the victors and the vanquished

Unsettled deals with the nine wars that Xhosa people were subjected to between 1779 and 1879 in their fight against Afrikaner and British colonial settler forces. Nunn’s art seeks to instigate social change, and highlight lesser-seen aspects of society.

The work emanated from his awareness of a notable gap in the telling of this piece of South African history, as well as the fact that, to date, little has been done to memorialise these acts of colonial aggression and Xhosa resistance. He decided to document the land where these struggles took place.

“Through revisiting this painful past in the contemporary scenes of today, this work attempts to place the present in its factual context of dispossession and conquest,” said Nunn.

Unsettled
forms the first component of what will be a trilogy. The next component will address the legacy of colonial dispossession through “bringing ‘the first inhabitants’ back into the picture by giving a select number of self-describing Khoi, Griqua, and San or Bushmen a contemporary face and presence”. The final component will look at slavery.

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