[youtube=http://www.youtube.com/watch?v=UYngRIzG3Uk&w=600&h=373]

“In South Africa,” anthropologist Jean Comaroff tells us in this lecture, “murder rates are held to be diagnostic of violence run amok, of governance haunted by a past of inequities that no constitutional reform, no right of reconciliation can fully dispel. Especially indicative is the failure of the police to protect the populace, to win the war between crime and punishment that for many has turned the post-colony into a Hobbesian war zone.” When this obsessive drama of crime and punishment grips the South African imaginary at all levels, it edges aside older fantasies like ‘the rainbow nation’, or ‘a people born in struggle’. South Africans believe their country to be exceptionally violent, “captured by images of law and disorder (the more dire the better)” but “the public fixation far exceeds the facticity of crime” (more people die of AIDS, traffic accidents or heart disease than of criminal violence — thus making it a very unexceptional society in comparison to countries that share a similar past or transitional conundrum). But audacious crime fascinates, Comaroff argues, as does the figure of the ‘diviner-detective’ (think: renegade policemen like Jackson Gopane, or Kobus ‘Donker’ Jonker who combines a fascination for the occult with the ordinary police-work, or the now-disbanded ‘super-cops’ of the Scorpions) — the ‘diviner-detective’ who seems to be an embodiment of the paradoxes of law, order, and sovereignty in places where faith in the ability to explain lawlessness is lost, and with it possibly the nature of society itself. Recommended listening, if you like a good dose of anthropology.

Further Reading

From Cape To Cairo

When two Africans—one from the south, the other from the north—set out to cross the continent, they raised the question: how easy is it for an African to move in their own land?

The road to Rafah

The ‘Sumud’ convoy from Tunis to Gaza is reviving the radical promise of pan-African solidarity and reclaiming an anticolonial tactic lost to history.

Sinners and ancestors

Ryan Coogler’s latest film is more than a vampire fable—it’s a bridge between Black American history and African audiences hungry for connection, investment, and storytelling rooted in shared struggle.