Shimmer Chinodya’s internationally acclaimed novel published in 1989, Harvest of Thorns, was adapted for stage and presented during the 2013 Harare International Festival of the Arts (Hifa) as a stage drama. It was staged to a capacity crowd on April 30, 2013 at 7 Arts Theatre in Harare, Zimbabwe.
I caught up with Shimmer Chinodya recently and interviewed him about the goings on behind the scenes because he had adapted his own novel to a stage play and was producing it himself.
Shimmer Chinodya himself has been one of the more outstanding Zimbabwean writers from among those who became prominent after Zimbabwe’s independence in 1980. His writings tend to dwell on the space of the individual in the family in the fast-changing times in Zimbabwe.
His experimentation with form and language has drawn immense attention on a literary scene that dwelt largely on realist writing. Strife (2006) won Chinodya the Noma Award for Publishing in Africa. A synopsis of the novel, Harvest of Thorns
Harvest of Thorns portrays the history of Zimbabwe from its late days as a member of the British Commonwealth through its time as an independent Rhodesia under a white minority government and the consequent Bush War to the transfer to a majority-ruled Zimbabwe; these events and their consequences are seen primarily through the eyes of the young man Benjamin Tichafa.
As the novel begins, the Bush War has ended, the new majority government of Zimbabwe has taken power, and Benjamin returns home for the first time in three years after fighting as a guerilla…a pregnant young woman appears, whom he finally introduces as his wife. He attempts to collect his back and demob pay, but because he left his last encampment without being formally discharged, he is unable to prove he’s owed the money.
Memory Chirere: Harvest of Thorns got so much international recognition, winning you The Common Wealth Prize for Literature (Africa Region) in 1990. What place does this novel hold in your life and career?
Shimmer Chinodya: It was my literary breakthrough. Mind you, I was only twenty seven when I started it but few people realise it was my fourth novel. It took me places, carved me a niche in Zimbabwean and world literature.
It was staple reading for a whole generation of Zimbabweans and foreigners. It became an ‘O’ level literature text for Zimbabwe in the 90s and was taught in universities and colleges worldwide and read by people in the street.
Harvest’s success challenged and spurred me to write more. I went on to write seven other books of fiction, and two of them, Chairman of Fools and the Noma Award winning Strife have been prescribed as ‘A’ level set texts.
The success of these and scores of my textbooks used in the SADC region made me quit my last job as Professor of Creative Writing at St Lawrence University, New York, to return home and take up full time writing as a career. And I haven’t looked back!
Chirere: But you are not known for theatre…
Chinodya: Oh, yes, I do have some grounding in theatre. With sixty published books under my belt, you bet there isn’t a literary genre I haven’t handled. In my brief high school teaching spell I directed three plays for Open Days.
Exactly thirty years ago, in 1983, I adapted my dear, beloved first novel, Dew in the Morning, into a 40 episode radio drama for the then Radio 4 and I even narrated, directed and co-produced it!
Memory Chirere: Adaptations are not common in Zimbabwe. How did you come up with the idea to adapt Harvest for the stage? And why Harvest, of all your novels?
Chinodya: There had been several offers to make a film of Harvest and in 1995, the great Senegalese director Djibril Diop Mambety (of ‘Hyenas’ fame) and producer Tariq Ali had agreed to work on the project with a company called Bandung.
I even did the treatment but the fundraising hit the rocks…Now in the last two years, I have been ardently watching Zimbabwean theatre and I thought some of our theatre is so tame, fireside or sitting room affairs ‘manufactured’ for convenient NGO causes or topical interests with short life spans and I said to myself, why don’t I do something really big and beautiful and artsy with our history and our culture and our classics and
POP! Harvest came up! Because, many people say, the book is an epic and is so graphic and it already wrote itself out as a drama.
Chirere: What guided you towards which parts to bring into Harvest as drama and which sections to leave out?
Chinodya: The storyline was not difficult to maintain. It was the compressing that was difficult. When you have to tell a huge 50 year story in 90 minutes and using four different genres; theatre, music, dance and storytelling, you have to be ruthless to your own work.
Some parts that worked beautifully as prose like protagonist Benjamin Tichafa’s interior monologues or reminiscences of the 60s, for instance, had to be sacrificed to save time. Perhaps Clopas and Shamiso’s romantic comedy took up too much time.
Benjamin’s predicament and mental turmoil could have been explored more. But that is drama, you have to have a take, an angle and sacrifice some aspects. With prose the canvas is much wider and the artist is freer to indulge her/himself.
Chirere: What was it like doing the adapted script itself? Was it like a rewriting or a revision? Or, a new challenge?
Chinodya: It was fun all the way, but very tough – rediscovering my characters and interrogating their predicaments, a quarter of a century later! The characters and issues emerged like swimmers out of the blue, clearer, sharper. The cast members immediately warmed up to their roles and I must thank them for their practical suggestions; every evening we would whittle and refine the story.
It was a real team effort. I gave them the story and they brought their various skills to nurture it to life. The real challenge was to blend in the various genres so that none of them ‘bullied’ the others, and all worked together smoothly to create a fresh and delightful product.
Chirere: Harvest of Thorns is a novel partly about war and sometimes real combat. I understand that you have never been a combatant. How did you come up with the sections on contacts? Where did you get the confidence?
Chinodya: Remember I was expelled from Goromonzi (High School) in 1976 for protesting against black call-up. I could easily have run off to Mozambique and joined the ‘boys’. We heard the propaganda. We heard vivid reports from the war zones. I heard the misplaced blasts at downtown Woolworths from the Manfred Hodson Hall, college green and saw the fuel tanks blaze in Southerton in the late 70s.
We lost relatives or family members in landmine blasts and ‘crossfire’ and witnessed atrocities from either side. When you saw in my play that old demented woman dazedly picking up children’s body parts and stuffing them into a paper bag after the Rhodesian bombings, the very next morning after the infants had been gleefully chanting ‘The Chimurenga alphabet’, that was a fusion of history and art.
Chirere: This is a novel of 1989, how did it gain or lose from being adapted in 2012/13, about 24 years later?
Chinodya: Artistes must not always push their thumbs into the bowl of history. We tried to capture things as they were right up to just after independence. The true judge of history is time. Artistic distance often sharpens perception.
I suppose some people expected the ‘thorns’ to extend from the woes of the Tichafas to our present day problems, the economic meltdown, potholes, poisoned environment, endemic corruption and protracted political strife and insipid despair. I didn’t want to overload the story.
I opted to let Hope Masike jazz up the ending with her wonderfully distilled lyrics for Benjamin’s ‘bornfree’ son, Zvenyika in the last song.
Chirere: You wrote this novel, Harvest of Thorns. You adapted this story for stage. You directed the stage play. You have done three things with this story. Don’t you think the product could have been different if somebody had adapted and directed?
Chinodya: Correction; four things. I also produced it! I admit it probably might have been a different thing if we had brought in other brains to work on it, but you don’t always get the vision and commitment – intellectual, financial and the time you envisage from your colleagues.
Besides, who says a good writer cannot try a hand at directing – many great African writers, Soyinka, Ousmane etc, have done it. An excellent script is the ultimate director. I approached quite a few people and was generally met with cynicism and indifference or lukewarm commitment. So I said, Damn, I will do this myself.
Chirere: Doing the script is one thing but working with actors is totally different. What were the challenges of identifying an appropriate cast and working with it?
Chinodya: Most of the cast was handpicked. I had seen them on the stage or knew their work. I had to charm them into believing we were onto something different. I tapped into their various talents. Everybody contributed.
The script metamorphosed, refined itself. It was a difficult and demanding script, but we argued and interacted – and hopefully came out of it better artistes ourselves. You bet after this my own writing is going to be different…
Chirere: The mbira and songs by Hope Masike and company were wonderful. How did you come up with all these?
Chinodya: Hope Masike is an absolute beauty to work with. She’s energetic, versatile, intelligent and professional. She was my first recruit for the project; as early as November 2012 we’d meet twice a week to discuss the project and I’m grateful for her enthusiasm and willingness to hear me out which gave me the confidence to think out the project to her.
She (like all the subsequent cast members) read my novel and liked it. I’d say to her, can you do these two chapters in a two minute song or do a war refrain or back up this interior monologue with sad blues mbira and she’s be back three days later with a couple of tunes.
I’d drive her out to Domboshawa or Goromonzi or Cleveland Dam and she would pluck up Nhemamusasa, chimurenga, or mbira jazz and I would hand her a plate of mazhanje and tease, “Mermaid, do you take fruit?” Her music was not merely decorational, it became part of the story, part of the drama.
Chirere: The story ends up in a happier way than the novel; a new baby, a meeting and conversation between father and son… Were you answering to some of your critics who might have told you that the novel has a sad ending?
Chinodya: Art must ultimately uplift the human spirit. The happy ending grew out of the comical slant of the play, the celebratory reminiscences of the 60s, of the kwela dances, the ability of the soul, particularly the Zimbabwean psyche, to heal itself and regenerate. The last jazz song united the whole cast, and jazz is not always happy or sad music, rather it is mumhanzi wekugaya, a thinker’s music, just like Zimbabwe is a thinker artist’s terrain.
Chirere: I saw that most of your cast are generally below age 40 and they didn’t directly experience the war of liberation and the music and dress of the 1960s. How much work was done and what were the challenges?
Chinodya: Most of the cast members had read the novel. The material was mostly alien to them and I had to explain to them some aspects of the war, for instance, the political ferment in the 60s, the war effort itself, Chinese torture, the Chimoio bombings, the treatment of traitors and the human foibles of the combatants. For nearly all the cast, the material was an education.
Chirere: Why was there a decision for Hope Masike and band to be visible throughout when the band was not physically interacting with the acting? Why didn’t you keep the band behind the scene?
Chinodya: That was a technical decision, Memory. We decided that curtaining off the band every time they stopped playing, or having them slip off stage would be too cumbersome, so we had them blacked out and the lights on the action on the front stage when the band was not singing.
Chirere: You will agree with me that we need more of these adaptations. What would you say to other writers who would want to do this with their novels?
Chinodya: It’s easier said than done. It’s damn expensive, a no go area for ‘pump price’ artistes. For the record, our revered Culture Fund gave me not a cent – I have half the mind to approach and co-opt a committee of established artistes from across the arts to fund the Fund itself! I am very grateful to HIFA, to Gavin Peter and Elton Mjanana, in particular, for their generous vision, for believing in the project as something that could showcase combined Zimbabwean talent and underwriting the bulk of the budget.
Adaptations need blocks of time – solid months of sheer hard work – not the sort of thing to try when you have been grading seminar papers all day, shuffling legal files or balancing company financial sheets or running a multiplicity of small time errands like every other Zimbo.
And you need a broad enough vision and knowledge to see the interconnectedness of the arts – music, drama, visual art, dance, literature and how one art form ultimately feeds on the other.
Who will speak on behalf of Basotho?
A clash was reported to have taken place a few weeks ago between police officers, on the one hand, and an MP and his bodyguards, on the other, was always inevitable. It is a direct result of arrangements where people we have lent power to represent us in Parliament now use that power to come up with schemes by which they and their bodyguards should be exempted from equal treatment, and be treated differently from the rest us.
This conduct is anti-seMohlomi, and anti-seMoshoeshoe. And so are many other behaviours we have seen perpetrated by our MPs.
We can expect that those who behave this way will not stop at violation of road traffic laws but will go on to carry contraband in ‘MP’ registered vehicles, and claim exemption from police searches when confronted by the police.
The principle of ‘equality before the law’, and the principle that we should all be treated the same, is a fundamental requirement for the maintenance of social order. MPs who ignore, or violate, it are sources of social disorder. Such MPs have to be regarded as enemies of social order in Lesotho. They should bear in mind that they are opposing society when they oppose the police’s attempts to enforce the law.
We should all obey traffic laws. And, we should all stand in long queues for poor services at the Passport and Traffic Offices. Otherwise, if those we have voted into power use that power to exempt themselves and their bodyguards from poor public services, MPs will have no incentive and interest to work for improved quality of public service.
The failure by MPs and governments to address problems of poor public services is an important reason why everyday many Basotho cross into South Africa in search of better education, better medical services, and lower prices of basic necessities. That traffic includes cars which bear red registration numbers ferrying Lesotho public officials to South Africa for better services.
As always, MPs, Ministers, and other public servants will probably be exempted, or expect to be exempted, from the torment that comes with the new customs regime agreed by Revenue Services (SARS) and Revenue Services Lesotho (RSL), and implemented at RSA-Lesotho border posts. Exemption of officials and MPs will mean that they will have no interest, nor incentive, to lessen its toll on Basotho.
The new regime started early in August 2023. To educate travellers about it, the RSL staff at the Maseru border have been giving people leaflets that explain the new procedures.
Even before this new regime, and others that came before it, many people have always been suspicious that a lot of what people who enter Lesotho go through is not in the Southern Africa Customs Union (SACU) Agreement. For example, it is known that the Agreement is supposed to ensure that citizens of SACU member-countries do not pay tax on a similar item in more than one SACU country. In other words, citizens of SACU member-states should not be taxed twice, or more, for the same item within the SACU area.
But because of the bureaucracy that has been imposed on customs processes at the Lesotho-South Africa borders, many people fall victim to some bureaucratic detail, or other, and end up paying tax in South Africa and Lesotho for a similar item, or service.
In the new regime agreed by RSL and SARS, RSL officials tell us that we are supposed to stamp all receipts of value of M250, and above, at SARS. They say this while distributing a leaflet that says the threshold is M10 000.
For the M250 receipt to be stamped, you need to submit to SARS copies of pages of your passport showing your address in Lesotho, and showing dates on which you travelled to and from South Africa. The implication of this is that if you carry a South African passport you cannot bring groceries into Lesotho for reasons including the fact that Lesotho government cannot claim tax from South Africa on such goods. It is unclear what will happen to a South African tourists coming to Lesotho who might be refused permission to enter with their food.
As said, the requirement that we should stamp M250 receipts at SARS is not on the leaflet RSL officials are giving to travellers. Extraordinarily, RSL officials admit this.
So, at the expense of our time, and standing in receipt-stamping queues that will inevitably grow longer and longer, we are being forced to adhere to a requirement which is nowhere in the official papers.
Has the new regime been negotiated and agreed to by RSL officials alone, or is the government aware of the unreasonable measures that we have to comply with?
It must be said that, at least, for now, the RSL staff remain very helpful, and seem to acknowledge that requirements they are expected to enforce are unreasonable.
It seems nobody thinks of us when government and officials agree to onerous customs measures at our border posts. In part this is because, again, those we have lent power to represent us use that power to exempt themselves onerous procedures that they negotiate and agree to.
We need people who think of us when they negotiate customs and other agreements. Basotho need somebody who can speak on their behalf.
Prof Motlatsi Thabane
Developing close reading skills
One of the most important skills in adeptly dealing with comprehension-related questions lies in your acquisition and refining close-reading competencies and strategies. The word comprehend means to understand, to fully grasp the essence of a text. When you comprehend a text you will take in, as it were, all the elements of a text, you nibble in, to speak using metaphors, your teeth into the heart of the text. You savour the text, immersing yourself in the texture of the text.
Close-reading involves deep observation and critical analysis of a text or comprehension passage. Close-reading strategies demands that the reader of a text pick even the salient nuances of a text, he or she must take in all the hues and details of a text which are not mentioned directly in the text. This skill takes time to hone, but with constant practice and hard work, it can be done. Let’s do that in a practical way. We are going to focus on a very small extract depicting how one aspiring ironman trained rigorously to realise his dream and the social and emotional toll the training exerted on the man and his family and how, finally he won, much to the happiness and excitement of his family. Here is the extract, as you read, please focus on the use of language to create meaning and effect. Let’s try to discern the feelings of the writer when her husband, eventually became an ironman.
“Because it’s there,’ I’d snarl to anyone who dared question why any sane mortal would tackle an Ironman. I enjoyed mercilessly shaming his less-than-supportive business partner into recognising the potentially boundless benefits of Sam’s well-publicised adventure for their newly-established, fledgling travel company. A flurry of online articles described me as ‘a runner married to a triathlete’ – it took me a few moments to recognise our family and beam with immeasurable pride.
Our son missed having Dad around at the weekends, especially if he woke up after Sam had left to train on a Saturday when sometimes there were tears. But he got used to the different dynamic. He was given an ‘Ironman’ superhero toy as a birthday gift by some relatives and immediately started making it swim, bike and run! The poor child thinks that this is how normal families operate.
Having said all that, watching Sam emerge god-like from the water, power past us on his bike and rocket down the finishing chute, head held high as our kids cheered with the crowd – utterly incredible and intoxicating, one of life’s rare pinnacles of perfection. It had been an epic journey for all of us. I’m so glad we did it. And next year? Well yes, it’s my turn.”
Have you seen how this extract is written in a very captivating way; it colourfully depicts the writer’s feelings of extreme excitement and euphoria when Sam completed the race successfully. The words, “having said all that” are colourful and conclusive. Before these words were uttered, the narrator was expressing her dissatisfaction about Sam’s involvement in sport and how demanding it was emotionally, physically and financially. But, now, the words show that the success overwhelmed even the sentiments or expressions of dissatisfaction registered earlier. One can also see that the writer is overwhelmed by pride and celebration at the success of her husband and she and the entire crowd were immersed in an “intoxicating” experience. Beer intoxicates, so the writer uses this word as a word picture to graphically show the intensity and pervasive nature of the happiness generated by Sam’s victory — it is as if they were overdrunk with the sense of success and accomplishment. Sam’s win evoked all those rare moments in life when all seems to be perfect and in its place; that is why the writer used the words, “life’s rare pinnacles of perfection” just to express that.
Have you also noticed how the writer uses a lot of word pictures to describe her reactions about people’s views regarding her husband’s involvement in the ironman race? One such word, a word picture is “flurry.” The word explains the immensity as well as the amount of excitement and frenzy of publicity generated by Sam’s attempt to be the iron man. This word is apt in describing the writer’s admiration for her husband’s feat and the publicity and excitement generated.
Let’s now focus on another text, let’s focus on how the extract reveals why people hate snakes as a result of the misconceptions they have about them. But notice how the writer arguably writes to endear us to the world of snakes and some of their very positive attributes. Let’s nibble at the text of the extract.
“In the United States, for example, public outcry based on fear and misinformation recently halted a scientifically sound conservation plan for timber rattlesnakes. Another project at the same location that involved releasing eagles was embraced by the community. Rattlesnakes are no less important than eagles. In fact, they may help reduce the incidence of Lyme disease, which affects thousands of people each year, by reducing the number of rodents that harbour this disease. But emotions override facts, it seems, where snakes are concerned. Snakes play an integral role in maintaining balance in the ecosystem – in most ecosystems on earth, snakes can be both predator and prey. When a large prey-population attracts and sustains a large snake population, those snakes become prey for birds, mammals and even other snakes! As predators, snakes keep prey-populations in balance. Snakes provide an easy, environmentally friendly, free and natural pest-control service. But snakes are worth saving not because of what they can do for us, but because of who they are. Snakes share many behaviours with us, behaviours we value. They have friends. They take care of their kids and even their friends’ kids too. Want to help us change how people view and treat snakes? Visit the World Snake Day website.”
While you were still reading, I hope you saw that this is a really captivating text. It focuses on the misconceptions and lack of information we have about snakes, which information gaps lead us into hating snakes without reason. True, snakes are predatory but they also serve an important function in balancing the ecological balance.
Snakes are not that bad, too; and like us humans, they make friends, protect their young ones and the young ones of their friends. Pretty amazing to learn that snakes, too, have friends.
So the point is that there are a lot of falsehoods and misconceptions about snakes and their true habits and functions within the ecological sphere. Often times, they are shown to be cruel, bloody predators that kill in cold-blood. But snakes are also victims from birth and other creatures. Snakes are a natural means to curb diseases which are brought about by rodents. Thus, snakes help in maintaining balance in the ecosystem. Snakes are relational and friendly.
Let’s now hone close-reading skills a little more. In the following extract, the writer beautifully describes her experiences of meeting snakes in their natural habitats in the rainforest and her excitement of seeing quite an exciting array of species. As you read, focus on the writer’s reaction to what she saw and how she is alive to the beautiful scenery around her and she captures that.
“Three hours later, returning from the trek, I felt bubbles of amazement and wonder rising. I’d seen gliding lizards fly effortlessly between trees, intricate dragonflies of infinite varieties and delicately etched, golden frogs. The overcast sky, saturated to the brim, had poured down heavily, drenching the forest, its native creatures, and the handful of humans who happened to be there. Thereafter began the frenzy of activities and sounds that engulfs the woods after a good rain – rhythmic sounds, musical, coordinated and orchestrated, and pleasantly deafening. Ah! My brimming heart and soothed soul enjoyed restful sleep in the tent that first night. Bonfires and loud music are prohibited to avoid any disturbance to animals and hygienic common bathrooms (with hot-water facilities) were appreciated. Everyone was expected to wash their own plates and glasses after every meal. We were encouraged to separate organic waste into the respective dustbins before retiring each night. All inorganic waste went back with you.”
You have picked words which convey meaning so aptly and beautifully. I liked the expression and the choice of words. The phrase, “bubbles of amazement” is so colourful and this is a word picture which shows or reflects the intensity of the writer’s excitement and frenzy at experiencing the tranquil and pleasant experience of being in a rainforest teeming with a vast array of species.
Here we are! Mastering close reading skills is a journey, but an exciting one, which allows you to immerse yourself in the text and allows you to feel all the juicy aspects of the text, as it were.
Vuso Mhlanga teaches at the University of Zimbabwe. For almost a decade and half he taught English language and Literature in English at high school. Send your comments and questions to: email@example.com.
The significance of BRICS for the African continent
In the pioneering work titled “Building Better Global Economic BRICs” (Global Economics Paper No: 66), Lord Jim O’Neill, then Chief Economist at Goldman Sachs, introduced the term BRICs, referring to the emerging economies of Brazil, Russia, India, and China. These nations’ economies were experiencing rapid growth, fuelling discussions about their potential to collectively shape the global economy by 2050. In the spirit of this vision, the leaders of Brazil, Russia, India, and China convened for the first time in July 2006, on the sidelines of the G8 Outreach Summit in St Petersburg, Russia. This marked a pivotal moment in cementing the idea of forming a consortium of burgeoning economies.
Subsequently, the Foreign Ministers of these countries assembled in New York City in 2006 on the sidelines of the United Nations General Assembly and embraced the term “BRIC” as originally coined by Lord Jim O’Neill. On June 16, 2009, the inaugural ‘BRIC’ Summit was held in Yekaterinburg, Russia. Later, South Africa was granted full membership in September 2010 during a BRIC Foreign Ministers meeting on the fringes of the UN General Assembly. This led to the alteration of the acronym to BRICS. Building on this progress, South Africa participated in the Third BRICS Summit in Sanya, China, on April 14, 2011.
BRICS is firmly anchored in the principles of mutual respect, sovereign equality, inclusivity, consensus, and strengthened collaboration. The foundation of BRICS rests upon three pivotal pillars: political and security cooperation, financial and economic collaboration, and cultural and people-to-people exchanges. These pillars serve as a robust framework for guiding the alliance’s interactions and ensuring its enduring viability. This sentiment is particularly pronounced as the 15th BRICS Summit, slated for August 22-24, 2023, in Johannesburg, South Africa, convenes under the theme “BRICS and Africa: Partnership for Mutually Accelerated Growth, Sustainable Development, and Inclusive Multilateralism.”
Drawing from the World Bank data from 2022, the combined population of the five BRICS nations stands at 3.27 billion, constituting 41.1% of the global population. These countries’ cumulative Gross Domestic Product (GDP) for 2022 is valued at 25.92 trillion, accounting for 25.8% of the world’s GDP. In contrast, Africa’s total population across its 55 countries is estimated at 1.4 billion, representing 17.5% of the global population. Africa’s overall GDP amounts to approximately US$3.0 trillion, contributing 2.7% to the global GDP.
The African Development Bank’s African Economic Outlook for 2023, underscores Africa’s abundant natural resources — oil, gas, minerals, land, sunlight, wind, and biodiversity —whose potential remains largely untapped and undervalued. The report highlights Africa’s trillion-dollar investment potential in the climate and green growth sectors, offering a promising avenue for private sector involvement.
The UN Conference on Trade and Development’s (UNCTAD) BRICS Investment Report for 2023 reveals that the BRICS economies collectively account for 18% of global exports and approximately $250 billion in foreign direct investment outflows. Notably, the BRICS nations have emerged as significant investors in Africa, with a particular focus on industrial and service sectors, as confirmed by the Africa Development Bank’s Briefing Note titled “Africa and the BRICS: A Win-Win Partnership?” (2003).
Moreover, the BRICS countries have expanded their presence on the continent in terms of foreign direct investment, outpacing traditional partners such as the United States and Europe. This emphasis on harnessing natural resources and boosting agricultural production is also underscored by the UN Economic Commission for Africa’s (UNECA) Report “BRICS/Africa Partnership for Development” (2014).
Leveraging their substantial economic potential, the BRICS nations are optimally positioned to support Africa’s aspirations under the AU Agenda 2063. These countries play a pivotal role in driving investments in natural resource beneficiation, manufacturing, and industrialisation across the continent. They also provide strategic impetus for enhancing productivity and competitiveness, especially within the agricultural sector, through consistent investment efforts.
The emergence of the BRICS New Development Bank offers an alternative to the Western-dominated multilateral financial institutions, which have historically contributed to Africa’s infrastructure development at a gradual pace. This bank holds the promise of financing comprehensive infrastructure projects across the continent, thereby enhancing connectivity through rail, maritime, air routes, and information and communication technology — an aspiration cherished by the African populace.
A symbiotic partnership between Africa and BRICS has the potential to elevate Africa’s status as a significant player on the global stage. This partnership extends to bolstering Africa’s role in global governance structures, including institutions like the United Nations and Multilateral Financial Institutions. The expansion of BRICS to encompass additional nations, including those from Africa, is poised to inspire African countries to assume greater responsibility for funding their sustainable development endeavours.
This approach empowers African nations to form alliances with developed countries that squarely address the continent’s priorities for sustainable growth and economic transformation. Most notably, the BRICS initiative lays the foundation for a multipolar world, contrasting the prevailing unipolar influence exerted by the US and the G7 countries (Canada, France, Italy, Germany, Japan, UK, and the US). This envisioned multipolar world rests on principles such as mutual respect, sovereign equality, inclusiveness, consensus, and fortified collaborations. The International Monetary Fund, Economic Outlook (April, 2023) reveals that the population of the G7 countries is around 776.55 million representing 9.7% of the global population. The GDP for the G7 countries is around US$42.92 trillion representing around 30% of the world GDP.
In a recent interview with Africa Business in June 2023, Lord Jim O’Neill, the visionary behind BRICS, shared his perspective on the future of BRICS and its implications for Africa. He astutely remarked, “the notion that the group of seven ‘industrialised’ or ‘more developed’ or ‘early developed’ (G7) nations can single-handedly govern the world is disconcerting, given their diminishing share of the global GDP. Moreover, the G7 often finds itself aligned with the desires of Washington (US). How then can these select few address the world’s most pressing challenges? This predicament highlights the raison d’être behind my conception of BRICS: to advocate for a more effective global governance model than what the G7 offers.”
It is for these reasons that the enduring partnership between Africa and BRICS embodies a shared commitment to sustainable development, economic growth, and the transformation of global governance structures. The collaborative approach rooted in mutual benefit, respect, and a multi-polar perspective has the potential to reshape the global landscape, ensuring a more inclusive and prosperous future for all.
Advocate Batlokoa Makong is a seasoned diplomat currently working for the African Union. He writes in his personal capacity.
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