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25 October 2021 | Story Prof Motlatsi Thabane
Eswatini

Opinion article by Prof Motlatsi Thabane, Research Fellow, Centre for Gender and Africa Studies, University of the Free State

Eswatini (Swaziland) gained independence from Britain in September 1968. Under colonial rule, it was part of a triad of South African High Commission Territories with Botswana and Lesotho. The British started arrangements for granting independence to the three territories at around the same time, but Eswatini received its independence two years after the other two, which received their independence within the same week – Botswana on 30 September 1966, and Lesotho four days later on 4 October 1966.

Transition from colonial rule to independence
An important part of the explanation for the delay in Eswatini’s gaining of  independence was that there was no agreement between the British government and Paramount Chief (as he was styled under colonial rule) Sobhuza II on the one hand, or regarding a political system by which Eswatini would be ruled after gaining independence, on the other hand.

Under colonial rule, the institution of chieftainship in Lesotho had been greatly weakened by alcoholism among the senior chieftainship in particular, and chiefs had become deeply unpopular as a result of collaborating with colonial rulers in the oppression and exploitation of society. In Botswana, chiefs remained powerful and allowed for modernisation of the institution, including educating chiefs and the general population. Eswatini was different. From the beginning, the chieftainship remained strong, popular, deeply conservative, and the king succeeded in incorporating Swazi culture and traditional power structures, both of which he dominated, into the colonial system.   

As they left the High Commission Territories, the British wanted to leave – as they managed to do for Lesotho – independent Eswatini as a constitutional monarchy where power would be exercised by elected representatives of the people. In this, the British were supported by Eswatini’s small middle-class politicians and Eswatini’s small working class. For his part, driven by a seemingly sincerely-held totalitarian and paternalistic vision in which everything had to be done according to Swazi culture that put all power – ritual, political, spiritual, economic – in his hands in the negotiations, Sobhuza II wanted, and held out for a post-colonial political dispensation in which all power rested with him.

The fact that the British were opposed to this, caused a delay in Eswatini’s independence. What is important for modern Eswatini is that the king succeeded. An important concession he was forced to make was a constitutional provision allowing for multi-party democracy, and the right of the people to elect men and women of their choice to represent them in the country’s legislature. However, he countered and undermined even this constitutional provision by establishing his own political party to contest pre-independence elections.

A political theoretical examination of documents explaining the political system that King Sobhuza II wanted, would reveal a much more dangerous authoritarian rule than was, in fact established.

From King Sobhuza II to King Mswati III
In 1973, after independence, the monarch even removed the multi-party concession, suspended the Constitution, and issued a decree that gave him all the power in Eswatini society. This is the dispensation that King Mswati III inherited when he ascended the throne in 1986, following the death of his father in 1982. There must have been hope that the young king would liberalise politics and life in Eswatini. But these hopes have been dashed, because although there have been changes in the country’s constitutional arrangement since Sobhuza II’s death, it was largely cosmetic, and intended to make absolute monarchical rule less unappealing to the eye and ear – with phrases such as ‘monarchical democracy’ – and otherwise intended to entrench the king’s power even further.

From what King Sobhuza II left when he died in 1982, and throughout King Mswati III’s 35-year rule, the royal family have amassed enormous amounts of wealth. Means of amassing this wealth included what can best be described as the payment of tributes in the form of company shares, charged to companies that invest in Eswatini. In other countries, wealth such as this accrues to state coffers. The Eswatini state has established a fairly well-kept registration database for citizens and residents, which enhances tax collection.

Together with Lesotho and South Africa, Eswatini is counted among the top-ten most unequal societies in the world. Wealth distribution is heavily skewed in favour of a limited few among the traditional and modern elites. Poverty in the rural areas is estimated at 70%, and extreme poverty is estimated at 25%.

Politically, with the exception of a limited few among the ruling group, all social groups chafe under a most pervasive oppression. This oppression has been challenged, led by various organisations, particularly during King Mswati III’s reign. The state has reacted to all of these with unrestrained brutality not only intended to punish specific individuals and organisations, but also to secure the seemingly near-total acquiescence in much of society.

Explaining the current political unrest
According to sources, origins of the current unrest lie in the kingdom’s financial crisis, which has meant, for example, that the government is unable to pay public sector wages. Politically, the unrest is a result of the oppression described above. It is not spontaneous but has been building up over the years.

Where the current unrest will lead to, is unclear. Popular demands in the current protests vary and have oscillated between the establishment of a constitutional monarchy at the most moderate, and the stepping down of the king at the most radical. As always, it is possible that for some, the payment of wages would be considered adequate and sufficient response by the king; if this is done, such groups would be happy to have things continue as they have done before the uprising.

Possibilities exist for division within groups that want moderate change. The king’s hold on power is so all-encompassing and pervasive that he has at his disposal a choice of many meaningless concessions that he can make, which some moderates might consider enough to cease their participation in the protest. For those seeking more radical change, the abdication of the king’s is unlikely; groups seeking change along those lines might differ in their methods of achieving the goal, and in the length of time they are prepared to hold out for such a reform. The longer these demands go unfulfilled, the more likely damaging divisions may appear in this group.

Exit routes to current unrest?
As a 19th century revolutionary put it many years ago, the chances for change happening in societies such as Eswatini increase tremendously when beneficiaries of the existing socio-economic system themselves begin to question such a system. That is to say, when such beneficiaries realise that the distribution of power and wealth benefiting them need to change in order for them to survive as a privileged grouping. It is a difficult proposition with serious implications, and one which cannot be avoided when its time has come.

There are a few signs of this in Eswatini that cannot be dismissed on the grounds of quantity. However, the political system remains intact, with reporting on the uprising beginning to be dominated by statements claiming that the army has restored order.

We have to hope that the people of Eswatini will achieve change and the future they want, which they have been crying for over many years. Army and police brutality must stop. The www (internet) in the 21st century is a basic human right and must be restored.  

Solidarity and condolences
The world, AU, SADC, SACU member states, and all of us must stand in solidarity with the people of Eswatini. Our condolences, thoughts, and prayers go to wives, husbands, children, friends, and relatives of those killed in this brutality.

This article was written after the anti-monarchy demonstration in June and July 2021 which saw estimated nearly 69 losing their lives. Now unrest has flared-up spearheaded by students, civil servants and transport workers.

News Archive

Top-class musicians appointed in UFS Odeion String Quartet
2008-11-02

 

From the left are: Denise Sutton, first violinist and leader of the string quartet, Sharon de Kock, second violinist, Jeanne-Louise Moolman, violist, and Anmari van der Westhuizen, cellist. 
 Photo: Dries Myburgh

 The University of the Free State (UFS) has recently appointed four acclaimed, top class musicians in its Odeion String Quartet. The quartet, which was established in 1991, is the only resident quartet at a South African university.

The new members who have been appointed are: Denise Sutton, first violinist and leader of the string quartet, Sharon de Kock, second violinist, Jeanne-Louise Moolman, violist, and Anmari van der Westhuizen, cellist. Anmari is the latest addition to the quartet.

Denise Sutton is well-known, inter alia, as longtime concert master of the PACT orchestra, as leader of the Rosemunde Quartet, for her involvement with the Chamber Orchestra of South Africa (COSA), and as a inspiring teacher at the University of Pretoria.

Jeanne-Louise Moolman has about twenty years experience as principal violist of professional orchestras in Gauteng and was leader of the violas in the Johannesburg Philharmonic Orchestra and COSA. She was also a founder member of the Rosemunde Quartet.

Sharon de Kock, formerly from Cape Town, studied at the University of Cincinnati, played in symphony orchestras in Peru, Costa Rica and the USA, and was a violin teacher in Mexico and Costa Rica until her return to South Africa in 2007.

Anmari van der Westhuizen, formerly from Stellenbosch, is one of the most sought-after cellists in South Africa, has been the conductor and director of the UCT String Ensemble since 1999, and spent eight years as soloist and chamber musician in Europe from 1988-1996.

The new quartet will be launched at a concert on 6 November 2008 in the Odeion on the Main Campus in Bloemfontein.

The new appointments follow after three former members of the quartet – Jürgen Schwietering, John Wille and Abrie de Wet – retired or left Bloemfontein at more or less the same time. Michael Haller, longtime cellist of the quartet, will also be retiring at the end of 2008. These developments mean that the Odeion String Quartet is literary brand new.

The new appointment creates exciting new opportunities for learners and students to be taught by excellent lecturers at the music department of the UFS. The new players also strengthen the Free State Symphony Orchestra significantly, since they will fill the four principal positions in the strings.

“The Odeion String Quartet is a flagship of the UFS and it symbolises our commitment to the arts. It also plays an important strategic role in the development of symphony orchestra music and classical music training in the Free State. It is an essential part of UFS regional collaboration with e.g. the Free State Symphony Orchestra, the Mangaung Strings Programme, the Free State Musicon, the Free State provincial Department of Arts and Culture and Pacofs.This is why a real attempt was made to obtain top class musicians, to attract the best in the country. We are pleased that such a strong group could be appointed,” said Prof. Frederick Fourie, chairperson of the String Quartet’s management committee and outgoing Rector and Vice-Chancellor of the UFS.

Most string quartets abroad are affiliated with a higher education institution, which enables a higher level of playing as there is more time for preparation and to study the repertoire. “We appreciate the university’s confidence in us and for the opportunity to explore the intricacies of ensemble playing. We hope that we can produce inspiring performances for our audiences and students,” said Denis Sutton, new leader of the string quartet.

Abridged CVs

Denise Sutton studied at the University of Stellenbosch (US) and obtained the degree B.Mus. with distinction. After this, she studied in Amsterdam with Theo Olof and Nap de Klijn, as well as in London. She was leader and second violinist in the Scottish Chamber Orchestra and did a successful audition for the English Chamber Orchestra. In South Africa she had a long career as concert master and leader of symphony orchestras. From 1980 she was concert master of the TRUK Orchestra for almost twenty years and from 2000 until 2005 she was member of the Johannesburg Festival Orchestra and the Chamber Orchestra of South Africa (COSA). She was also a founding member and leader of the Rosamunde String Quartet, one of the leading string quartets in the country. Denise had a very successful part-time teaching practice at the University of Pretoria (UP) and at a number of schools. She was also involved in postgraduate training. Her students include various competition winners and a number of them are playing professionally.

Jeanne-Louise Moolman studied at the UP under Prof. Alan Solomon where she obtained the B.Mus and B.Mus.Hons. degrees with distinction. She won among others the ATKV Forté and the Oude Meesters competitions and in 1985 she was the first winner of the prestigious 75th Commemorative Prize of the University of Natal. She has about twenty years experience as principal violist of various professional orchestras in Gauteng. Until her appointment at the UFS she was leader of the viola section in the Johannesburg Philharmonic Orchestra and COSA. She is an experienced chamber musician who regularly performs in various combinations with some of South Africa’s leading musicians. This includes Gerard Korsten, Phillipe Graffin, Jürgen Schwietering, the pianists Lamar Crowson and Albie van Schalkwyk, as well as clarinet player Robert Pickup. Jeanne-Louise was also a founding member of the Rosamunde String Quartet. She lectured on a part time basis at the UP and the Pro Arte Music School.

Sharon de Kock obtained the degrees B.A. Mus. and M.Mus. at the College-Conservatory of Music (CCM) of the University of Cincinnati in the United States of America (USA) in 2002 and 2004 respectively. Some of her teachers include the well-known concert violinist Chee-Yun Kim, Prof. Kurt Sassmannshaus and Piotr Milewski, all alumni of Julliard. From 2004 to 2006 she was violinist lecturer at two universities and a music conservatorium in Puebla, Mexico. She was also violin lecturer at a music school in Costa Rica and was associated with the Hugo Lambrechts Centre in Cape Town since 2007. Her orchestra participation includes among others the Opera Orchestra in Trujillo, Peru, the Sinfónica Nacional de Costa Rica in Costa Rica, as well as the Kentucky Symphony Orchestra, the Richmond Symphony Orchestra and the Dayton Philharmonic Orchestra. She also participated in the Luca Music Festival in Italy, the Grandin Music Festival in Portugal, the Pacific Music Festival in Japan and the Aspen Music Festival in the USA. Sharon performed regularly abroad as soloist and received various awards. This includes among others the CCM chamber music competition 2003 and the Baur Orchestral Competition and Heermann competition winner for violin at the CCM in 1995. In 1990 she won the first prize in the Sanlam competition.

Anmari van der Westhuizen was the winner at several national competitions such as the Forté and Oude Meester Competitions and in 1985 was the first winner of the prestigious University of Natal 75th Anniversary Prize. She is today one of the most sought-after cellists in South Africa. Anmari, a cum laude graduate of the Stellenbosch University, was awarded the Grosses Konzertdiplom with distinction at the Mozarteum in Salzburg and the Konzertexamendiplom at the Hochschule für Musik in Cologne, working under Heidi Litschauer and Maria Kliegel respectively. During her stay Europe from 1988 to 1996 she appeared as soloist and chamber musician in such groups as the Koehne String Quartet in Vienna, also appearing at international festivals in Austria, Italy and Spain. Anmari has made several CD recordings. Since 1999 she has been the conductor and director of the UCT String Ensemble. A founder member of the UCT Trio, the Collage Ensemble and I Grandi Violoncellisti, Anmari still performs regularly throughout South Africa, and is invited by the Austrian Composers Union as solo cellist.

Media Release
Issued by: Lacea Loader
Assistant Director: Media Liaison
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: loaderl.stg@ufs.ac.za  
29 October 2008
 

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