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13 March 2024 Photo Sonia Small
Prof Sethulego Matebesi
Prof Sethulego Matebesi is an Associate Professor and Academic Head of Department of Sociology at the University of the Free State.

Opinion article by Prof Sethulego Matebesi, Associate Professor and Academic Head of Department of Sociology, University of the Free State.


There was a time when weekly news coverage of South Africa was dominated by various forms of racism, racial discrimination, xenophobia, and related intolerance incidents that painted a grim picture of respect for human rights

However, in the history of contemporary South Africa there has been plenty of optimism about the prospect of deepening the understanding of human rights in order to entrench a human rights culture among citizens. This optimism is underscored by a range of deliberate actions by the South African government to promote, protect, and monitor the development and observance of human rights through, for example, the South African Human Rights Commission and the Commission for Gender Equality.

Yet, while these institutions – and many other policy instruments to ensure compliance – are central to creating an environment conducive to advancing rights enshrined in the Bill of Rights, citizens also hold significant responsibility to prevent the escalation of discrimination and racial tension. But many of us face an uncomfortable truth we have become accustomed to avoiding: the ability to show unusual restraint in the face of injustice.

The challenge of combating practices that glorify intolerance

Beyond formal political rights, human rights also entail the progressive realisation of the right to the structural social determinants of well-being, such as access to clean water, food, and a healthy environment. However, while the process of social change in South Africa has many unique attributes, the response to the process reflects two extremes.

There are, on the one hand, those who cultivate an image as defenders of the rights of the ‘oppressed’ and are predominantly black activists, and on the other hand, anti-transformation forces who stall the move of the country towards a more inclusive and egalitarian future and are primarily white activists. These activists, whether advancing the reclamation of rights, perpetuate legacies of the past instead of asserting a positive commitment to eradicating socially constructed barriers to equality.

These activists are found everywhere. They are part of our education, religious, political, and social establishments. Reflecting on the painful past of the country, these activists do not help foster diversity as an ethos but advance the conscious and unconscious practices of structural racism. Aided by hyper-personalised social media feeds, these activists can stretch the boundaries of logic and destabilise fragile and established democratic and human rights.

The problem, they claim, is that those who embrace diversity and want to find amicable solutions to longstanding social injustices are either advocates of white supremacy or want to abrogate their right to freedom of expression. In such cases, when people in a hate frenzy find something to hate together, they become bonded. And anything contrary to their beliefs goes into an echo chamber of mockery. 

I do not want to establish a potentially trivialising affinity with branding activists who assert their rights as an attack on human rights. But attention is drawn to instances where noble objectives to confront the tentacles of human rights abuses have been weaponised against what is perceived as ‘the other.’

But how can we navigate this fundamental societal defect? Collective agency to advance the ethos of human rights

After three decades of democracy, attempts to eliminate systematic and institutionalised under-privilege must be welcomed. Likewise, our response to the perceived threats to efforts to enhance diversity as an ethos in public institutions and society matters. In many instances, when subjugated to hatred, hostility, or even violence, there is a tendency to believe that the best approach to such an absurd situation is more absurdity. At its most benign, such a response is not helpful to efforts to embrace diversity. At its weirdest, it garners public sympathy for hate groups and activists.

While there have been concerted efforts internationally and nationally for the progressive realisation of social rights and efforts to strengthen democratic resilience and rights-respecting societies, South Africans have been passing the buck. Rights-respecting citizens have a choice to make. They can continue to pass the buck or help build a culture where everyone achieves their potential and develops into responsible citizens.

I am convinced that beyond formal politics, the attainment of respect for cultural diversity and professing the freedom, equality, and unity of all peoples are contingent upon our collective activism and shared commitments to these values. This collective approach – although some may view it as illusory – is, in fact, our most potent weapon. Reinforcing its commitment strengthens our collective agency and resolve to respect human rights and fundamental freedoms.

News Archive

Paying homage to a music maestro
2013-10-08

 

08 October 2013
Photo: Supplied

American singer, songwriter, composer and actor, Thomas Alan Waits (1949–), has been a major inspiration to artists, musicians, poets, writers and thinkers for almost 40 years. He is considered as one of the godfathers of grunge and poetic rock and is a master of contemporary narrative –able to weave emotion and intrigue into his stories of urban grit and rural abandonment. His sometimes jaundiced view of the underbelly of society serves as a rich source of visual imagery.

The Johannes Stegmann Art Gallery is celebrating this vanguard with the exhibition Tom Waits for No Man.

Gordon Froud, artist and senior lecturer at the Department of Visual Arts at the University of Johannesburg (UJ), curated and toured with the Leonard Cohen exhibition entitled Altered Piecesin 2011 and 2012. Due to the success of that exhibition, Froud decided to extend his curative activities in the direction of Tom Waits.

This exhibition is based on a roughly LP-sized circular format (30cm in diameter). Most works hang on the wall, but some artists that preferredto work in 3D, made use of the disc as a base or platform on which to build. There was no restriction on materials or approach. There was no process in selection of songs and each artist was free to use whichever lyric or section of lyrics that they choose (even if someone else had selected this too – artists seldom come up with the same solutions).

The exhibition was launched at the ABSA KKNK in April 2013 and has travelled to the UJ Art Gallery and Grande Provence Wine Estate for the Literary Festival.

The exhibition is on display at the Johannes Stegmann Art Gallery until 25 October 2013.

Gallery hours: 08:30 – 16:30, Monday – Friday

Enquiries: +27(0)51 401 2706 | dejesusav@ufs.ac.za

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