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16 January 2024 | Story Valentino Ndaba and Dr Cindé Greyling | Photo Sonia Small
Dr Catherine Namakula
According to Dr Catherine Namakula, language-fair trial rights are entrenched as constitutional imperatives in many African countries.

Dr Catherine Namakula is Senior Lecturer of Public Law at the University of the Free State and a member of the United Nations Human Rights Council’s Working Group of Experts on People of African Descent. In her latest book, Fair Trial Rights and Multilingualism in Africa, she incorporates a ‘language-fair trial rights code’ – an amalgamation of 31 principles proven by case law and trial practice as best approaches to ensuring language-fair trial rights.

The code advances the minimum language guarantees for vulnerable participants, especially persons with speech and hearing disabilities, sign language users, accused persons making confessions, and victims of gender-based or sexual violence. Bult discussed her research in more depth with her.

Your research spans multiple jurisdictions in Africa, from the Sahel region to the Horn of Africa and the Cape. What country-specific practices have you found regarding fair trial rights in these regions?

Language-fair trial rights are entrenched as constitutional imperatives in many African countries. They are non-negotiable. Nigerian and Kenyan courts have exceeded rhetoric and lip service to language-fair trial rights and actually declared trials absolute nullities due to lack of comprehension of proceedings by accused persons. Indigenous languages are languages of record in Ethiopia, Rwanda, Somalia, and Tanzania.

Rwanda elevates the standard of linguistic competence of an accused to thorough competency, whereas in Lesotho this translates to the mother tongue. In Canada, even jury panellists are subjected to language competency tests, and in South Africa, judges are assigned cases according to their proficiency in the language indicated by the trial participants as the preferred language of trial. Almost all the studied countries express no compromise on the principle that a confession must be recorded in the language used by the person making it.

Multilingualism is a significant challenge in legal processes across Africa. What were some of the most common issues or difficulties related to language that you identified during your research, and how do these impact the fairness of trials?

There is a gap bordering on disconnection between the formal courts and the population they serve – to the extent that legal processes are perceived as elitist and foreign, mainly because of the language question. Trials require unequivocal expressions, whereas African tradition for the most part considers sexual language as pervasive. This constrains the trial and punishment of sexual violence.

Investment in the standardisation of sign languages is limited, making the trial of persons with speech disabilities in their ‘home-made’ languages impracticable. There is heavy reliance on translation and interpreting to propel trials, often leading to resource constraints and recourse to controversial measures, such as engaging police officers as interpreters.

Transplanting African customs from indigenous languages to fit court situations by way of translation leads to loss of meaning and watering down of concepts. African courts battle with evaluating interpretative competency against the backdrop of a lack of training of judicial interpreters on the continent. Measuring linguistic comprehension is an actual challenge for courts, often manifesting in asking people whether they know what they do not know, but this research presents the objective test based on special circumstances advanced by the Supreme Court of Justice of Ontario that would resolve this hurdle.

Your book also mentions the potential applicability of lessons from African jurisdictions to those outside of Africa.

Contrary to popular opinion, the study confirms that African languages are already serving as channels for trials; they are not merely colloquial speech, but carriers of identities and human dignity. They should not be ignored but recognised and promoted. A trial that must proceed in a language that an accused person does not understand is a trial in absentia and the safeguards governing such trials must apply.

As the legal landscape and languages in Africa continue to evolve, what recommendations or measures do you propose to improve existing approaches to ensuring fair trials in multilingual contexts?

Decolonial discourse and reparation to Africa from the legacies of enslavement, colonialism, and apartheid should characterise the rise in esteem of African languages in all spheres of society. The use of intermediaries in Kenya and South Africa to protect and support vulnerable victims – especially children and victims of gender-based violence – in their communication with the courts should be emulated by other countries and extended to persons who are illiterate, in order to mitigate the intimidating sophistication of the courts on our people.

News Archive

I-DENT-I-TIES to shine at the Free State Arts Festival
2016-07-08

Description: I-DENT-I-TIES  Tags: I-DENT-I-TIES

Erwin Maas with members of the student cast from the
Qwaqwa Campus. They are, from left: Mpho Xaba,
Lebohang Molefe and Tankiso Mofokeng.

Imagine this: A student cast from a rural campus; Production team consisting of a New York-based Dutch director, a South African screen and stage legend, a The Hague/Vienna-based Dutch theatre designer, and a Vienna-based Serbian performance-craft-artist and designer.

This sounds like a far-fetched flight of the imagination. But it is real and it is called ‘I-DENT-I-TIES’, a large-scale interdisciplinary performance project with international theatre professionals and students from the University of the Free State’s (UFS) Qwaqwa Campus.

According to the  director of the project, Erwin Maas, the production explores the ‘dents’ and ‘ties’ of both individual and communal identification and distinctiveness and does this through the famous Basotho story of ‘Moshanyana Sankatana’ as a point of departure.

“We explore questions like ‘what are dents in our society as well as in ourselves’, ‘what ties me to who I really am and who I want to be’, ‘what does it mean to be me’, ‘what does it mean to be South African’,” said Maas, who has been working on this project since last year.

The production also celebrates personal, communal, and universal narratives and identities through song, dance, story-telling, and music. It explores the past, the present, and the future.

“This production will certainly reveal an extraordinary journey into what makes us unique and binds us together,” he added during the rehearsals that started in May at the Qwaqwa Campus.

Maas has teamed up with a well-known South African film and stage legend, Jerry Mofokeng, as consultant. Mofokeng, who introduced Maas to the ‘Sankatana’ story, has featured on a number of critically-acclaimed films that include ‘Cry, The Beloved Country’ as well as the Academy Award-winning ‘Tsotsi’. Maas has also worked with the Hague/Vienna-based Dutch designer Nico de Rooij and Djana Covic, a Vienna-based Serbian designer.

The production is a partnership between the UFS Student Affairs, Vrystaat Arts Festival, the Programme for Innovation in Artform Development, and the Kingdom of the Netherlands in South Africa. It will premiere at the Free State Arts Festival, held in Bloemfontein from 11 to 16 July 2016. This will be followed by a performance at the Qwaqwa Campus on 19 July 2016.

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