South Africans fought for freedom, but won democracy

The famed South African musician Hugh Masekela has a history of speaking his mind on postapartheid politics.

Image by Jeremy Weate, via Flickr CC.

You can always count on Hugh Masekela to speak frankly. Masekela turned 70 this year. And he still has a lot to say. In London for a concert with the London Symphony Orchestra to mark his birthday, he was interviewed by the BBC.  Masekela, who spent 30 years in exile before returning to South Africa in 1990, talks about who owns the economy; how forming a “unity government” with Apartheid’s rulers in 1994 was “… tantamount to Israel forming a government with the Nazis;” how he can’t affect politics now run by “an international private club;” and, for good measure, he adds that South Africans fought for freedom but only got democracy instead. He also goes on about his preoccupation with bringing back “traditional ethnic cultural performance” better than the Hawaiians. I don’t know about that last part.

It’s worth listening to. Here.

By the way, Masekela has a history of speaking his mind on postapartheid politics.

For example, in a March 2002 interview he told the Chicago Tribune, “I’m trying to help reconstruct the glorious aspects of who we are as a people … There’s nothing apartheid worked harder for than for us to forget ourselves. We have to reclaim our social and recreational life and define ourselves to the world.”

That same year, he released an album, “Time.” It included the song, “Send Me (Thuma Mina), which, breaks with his pessimism, and is like a manifesto of sorts for how he sees his role in the new South Africa:

I wanna be there when the people start to turn it around
When they triumph over poverty
I wanna be there when the people win the battle against AIDS
I wanna lend a hand
I wanna be there for the alcoholic
I wanna be there for the drug addict
I wanna be there for the victims of violence and abuse
I wanna lend a hand
Send me 

 

Further Reading

On Safari

On our year-end publishing break, we reflect on how 2024’s contradictions reveal a fractured world grappling with inequality, digital activism, and the blurred lines between action and spectacle.

Rebuilding Algeria’s oceans

Grassroots activists and marine scientists in Algeria are building artificial reefs to restore biodiversity and sustain fishing communities, but scaling up requires more than passion—it needs institutional support and political will.

Ibaaku’s space race

Through Afro-futurist soundscapes blending tradition and innovation, Ibaaku’s new album, ‘Joola Jazz,’ reshapes Dakar’s cultural rhythm and challenges the legacy of Négritude.

An allegiance to abusers

This weekend, Chris Brown will perform two sold-out concerts in South Africa. His relationship to the country reveals the twisted dynamic between a black American artist with a track record of violence and a country happy to receive him.

Shell’s exit scam

Shell’s so-called divestment from Nigeria’s Niger Delta is a calculated move to evade accountability, leaving behind both environmental and economic devastation.

Africa’s sibling rivalry

Nigeria and South Africa have a fraught relationship marked by xenophobia, economic competition, and cultural exchange. The Nigerian Scam are joined by Khanya Mtshali to discuss the dynamics shaping these tensions on the AIAC podcast.

The price of power

Ghana’s election has brought another handover between the country’s two main parties. Yet behind the scenes lies a flawed system where wealth can buy political office.

Beats of defiance

From the streets of Khartoum to exile abroad, Sudanese hip-hop artists have turned music into a powerful tool for protest, resilience, and the preservation of collective memory.