New hope for African Penguin population
The birds are listed as critically endangered—and factors such as threats to food security and climate change have been blamed for the drop in population numbers.
The Pamela Isdell Nursery will help to incubate African penguin eggs while also rearing orphaned chicks.
Southern African Foundation for the Conservation of Coastal Birds (SANCCOB) Head of Conservation Nicky Stander says this new facility will have a larger capacity for eggs.
'We now have more artificial incubators for the abandoned eggs, and we have a lot more space inside and outside enclosures for small penguin chicks to move around, and while they are still fluffy, they will remain in this chick nursery,' said Stander.
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Daily Maverick
2 days ago
- Daily Maverick
Flight plan — 23 vulture chicks hatch at Eastern Cape reserve, marking rewilding milestone
A year after relocating 160 vultures across more than 1,000 kilometres, non-profit organisation Vulpro has announced the birth of more than 20 chicks at its breeding centre at Shamwari Private Game Reserve — a critical step in the fight to save Africa's rapidly declining vulture populations. Just over a year after completing South Africa's largest-ever vulture relocation, conservation non-profit Vulpro is celebrating a breakthrough breeding season — with 23 vulture chicks hatched at its new facility at Shamwari Private Game Reserve in the Eastern Cape. The chicks, all born since 1 July, mark a significant milestone for the species and for Vulpro's Captive Breeding Programme, which relocated 160 birds across 1,042 kilometres from a facility in Hartbeespoort to purpose-built enclosures at Shamwari in 2024. On Thursday, Vulpro CEO Kerri Wolter said of the 23 hatchlings, 20 were Cape vultures and three were white-backed vultures, with 'still more to come. We're hoping to have five white-backed this year,' she said. Vultures in crisis The relocation and breeding success form part of a broader effort to prevent the collapse of Africa's vulture populations, which face a perfect storm of threats — from habitat loss and poisoning to powerline and wind turbine collisions. Vultures are also naturally slow to reproduce, with some species reaching sexual maturity only after seven years and laying just one egg per year. Even under ideal wild conditions, only around 5% of chicks survive to adulthood. In some parts of South Africa, local extinctions have been recorded. 'It's important to note that when vultures reduce to critical levels, they also stop breeding,' warned Wolter. 'We need to prevent that whilst simultaneously addressing the threats.' Teaming up For Shamwari general manager Joe Cloete, teaming up with Vulpro was a no-brainer. He said, 'It's all about conserving a vanishing way of life. We've brought back various other animal species that used to occur in the Eastern Cape. The vultures are no different. 'You need vultures in the greater ecosystem because they clean the African bush. They form a very important cog in the whole ecosystem. He said Cape vultures and Egyptian vultures were indigenous to the Eastern Cape. 'It's just part of what we do at Shamwari to rewild this area. We brought back the flightless dung beetle and the red-billed oxpecker, and the Cape vulture is no different.' Wolter said the hatchlings would be released in provinces where they originated, with the white-backed vultures going to the northern parts of South Africa and the Cape vultures set to be released in the Eastern Cape. Cloete said it was fascinating to see where the vultures flew once they'd been released. He said after incubation and hatching, chicks were returned to their 'original mom for six months, and then they go into a pre-release enclosure for about six months' before being released into the wild with transmitters so their movements can be followed. 'You know, people actually follow their movements … there are all sorts of funny apps you can go on and you can find out where the birds are moving,' said Cloete. Grounded but giving back Vulpro exclusively uses non-releasable birds for breeding. These birds, while unable to return to the wild because of injuries or disabilities, can still contribute to their species' survival through reproduction. Wolter said, 'What's so special about our programme is that all our non-releasable disabled birds are able to still have value. They're not just sitting in an enclosure being viewed or kept on an asset register with a price tag on their heads; they are used to contribute to their wild counterparts' survival.' She said this approach eliminated the ethical concerns of removing healthy wild birds from already fragile populations while providing a meaningful purpose for injured raptors that would otherwise require lifelong care. Breeding, behaviour and biology Wolter said managing a successful breeding programme required an intricate understanding of vulture behaviour and biology. The birds are monogamous, with breeding pairs sharing responsibilities for nest building, incubation and chick rearing over a 54-day incubation period. 'Sometimes they fight over who's breeding the chick or who's incubating the egg. They fight for those responsibilities. To me, that is quite cute. Breeding always shows me how fragile and how gentle they are,' she said. The programme employs sophisticated techniques, including double clutching, where removing the first egg can stimulate birds to lay a second one, effectively doubling reproductive output. Careful record-keeping ensures genetic lineages are maintained, and chicks are returned to their biological parents after assisted hatching when necessary. 'The importance of any captive breeding programme is very, very stringent record-keeping. You know which egg and which chick needs to go back to which pair,' explained Wolter. Lessons from Asia's vulture crisis Vulpro's approach, she said, drew crucial lessons from the Asian vulture crisis, where delayed action nearly resulted in complete extinction. Asian conservation efforts required capturing healthy wild birds for breeding programmes after populations had already crashed. 'If anything, what we learned from that breeding programme is that it is never too early to start a founding population of species before you have to take birds out of the wild,' said Wolter. 'The success of your breeding programme takes years to nurture.' DM
IOL News
3 days ago
- IOL News
Why the revolution ate its children, and others
Letters to the Editor. Image: Supplied Letters to the editor Why the revolution ate its children The most humiliating aspect of post-independence and post-colonialism Africa, or even Latin America, is that the former struggle stalwarts never won a war against the former colonial powers. It is possible that they won against colonial militaries that were already retracting and preparing for independence. Many countries gained independence through a series of events that occurred concurrently. Proof of this is that none of the African nations liberated as early as the 1940s, 1950s, and 1960s were able to unite against the white apartheid regime (supported by the West) – let alone match the SADF. Instead, the SADF went on a rampage, insulting all of Africa and bombing neighbouring countries such as Lesotho, Angola, and Botswana. Nowadays, South Africans don't appreciate or consider this, especially when the ferment is present. Video Player is loading. 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Advertisement Next Stay Close ✕ Ad loading However, one thing that struggle veterans accomplished and won in conserving – conservatives – is the ability to treat fellow Black people equally and more than the brutality of colonialism and apartheid. And don't think the comrades didn't admire many of the Nazi and apartheid police tactics on propaganda and 'managing the masses'; whenever they sip on those expensive whiskies, they can never give up on mqombothi and Cuban cigars – true managers of their own, but only to their demise. It's easy to predict the typical sarcastic behaviour of these individuals when they lose touch with 'our people.' Typically, after looting the nation and stripping it bare of any colonial and post-independence glory prescribed and maintained by 'racist white oppressors,' the comrades begin to focus more on 'identifying threats,' not like NATO or the IDF, but within the oppressed – and this is almost always where they excel. As geniuses and war veterans, the comrades create separatist groups to divide and rule themselves, similar to how they were treated. Similarly, the ANC is directly responsible for the perceived stupidity of Dudula. The goal is to capitalize on the masses' revolt and desperation without addressing the root cause, which is a long-term failure to govern effectively. The entire point is to hold on to power for dear life because – as it was then among the serpents – 'This man should die for the nation than for the whole nation to perish!'However, as in Zimbabwe, it is threatening to do so here; these old dogs are unwilling to go down with the masses, preferring that the masses go down on their behalf and bear the brunt of sanctions, debts, and CIA-led coups and military operations while they, like parasites, sink their claws into the last vestiges of colonial glory. The masses, like their leaders, are largely unconcerned and only have each other and foreigners to vent their frustrations. And so they act and believe they are heroes – but heroes of lies, murder, theft, and self-destruction, which they will realize with great and foolish pride only when nothing remains. | Khotso Moleko Mangaung Let Eskom compete – or let it collapse The government is not equipped to determine the true cost of electricity. Any attempts it makes to do so only serve to distort market signals and drive Eskom and other electricity parastatals further down the path to ruin. Last year, electricity minister Kgosientsho Ramokgopa stated that high electricity prices are 'untenable' and 'disproportionately affect the poor.' Both these things may be true, but as a politician, Ramokgopa is not equipped to make these statements. He is motivated by political expediency and ideology – not market realities. Despite the minister's condemnation of high prices, Eskom and NERSA have continued to hike electricity tariffs – often above inflation. But it wasn't always this way. Prior to the start of loadshedding in 2007 and onwards, South Africa had some of the cheapest electricity in the world. But this wasn't because of efficiency or good governance. Eskom was politically mandated to maintain cheap electricity – damn the costs. This was its purpose since its inception in 1923. And in its quest to deliver unsustainably cheap electricity to drive industrialisation based on false pretence, Eskom failed to achieve even the most Kindergarten of economic rules. It failed to cover its costs. Eskom was never allowed to behave like a real business. Even when energy demand surged, it could not raise prices or reinvest profits to build new power plants. By the time blackouts hit in 2007, the cracks were decades old. Government-backed loans and subsidies kept Eskom alive, but the parastatal increasingly had to cut costs to keep prices low. It fired key experts, mothballed power stations, and delayed maintenance and expansion. Sanctions and turmoil became a blessing in disguise during the Apartheid era, as the economy shrunk – allowing Eskom's decreased ability to produce electricity to go unnoticed. But post-1994, the ANC added other mandates to Eskom. On top of providing cheap, plentiful electricity, Eskom also had to engage in racialised politics and expand electrification across the country. This resulted in mismanagement and corruption, as the utility lost sight of its key purpose. If the electricity prices were market driven, the laws of supply and demand would have warned Eskom that it was expanding demand far faster than its supply. It could have cautioned demand growth with higher prices, using the increased profits to build reserves and expand production. But Eskom is not a rational economic actor – it's a political one. It only cared about obeying orders from politicians who only care about votes and graft. When pricing is dictated politically, there's no incentive for efficiency, innovation, or even sustainability. On top of corruption and mismanagement – all key features of a state-run enterprise – these unsustainably low prices meant that Eskom couldn't build cash reserves, hire the engineers it needed, or build new power plants on time. So, when economic and population growth finally caught up with electricity production, we experienced rolling blackouts. If prices had been market driven, this wouldn't have happened. A power utility would be able to raise prices when electricity is scarce and lower them when electricity is plentiful. But for this to be possible, Eskom needs to be privatised, and its monopoly removed. Competition between businesses drives innovation and holds businesses accountable. We cannot know the true price of a good when there is only one seller. Private electricity companies competing to sell as sustainably cheap electricity as possible would result in not only a decent price of electricity that reflects reality – but also give correct signals to the economy so that economic growth doesn't hinge on a lie. South Africa's electricity crisis is not just about corruption or incompetence. It is about the fundamental failure of central planning. By removing Eskom's pricing power and monopolising generation, the government cut the lifeline of basic economics: profit, reinvestment, and price signals. If we want a sustainable, affordable energy future, we must return to first principles: let markets determine prices, let private companies compete, and let Eskom finally face the real cost of doing business – or get out of the way. | Nicholas Woode-Smith Free Market Foundation
IOL News
6 days ago
- IOL News
The arts are not a luxury, they are a lifeline
Tswelopele Makoe This past week, I walked through the carefully curated spaces of Decorex Africa's Johannesburg showcase, taking in a multitude of vibrant displays of South African designs. Decorex, an annual exhibition highlighting the ingenuity and craftsmanship of South African creatives, reminded me that design is never just surface level - behind each design and installation lies a deeper narrative about heritage, innovation, and who we uniquely are as a nation. Throughout the history of indigenous African societies, arts and culture have always been placed at the forefront. From trade and industry to artistic expression, arts and culture amongst indigenous Africans (and beyond) is not only indicative of a deeply embedded worldview, but also of a sophisticated system of knowledge, identity, and exchange. The artistic expression of a people is reflected in the stories told by communities, in preserved memories, in encoded values, in languages and movements, in the textures of craft, and in the symbols that carry meaning across generations. Art is not expressed through written texts alone, but through the beadwork, drum rhythms, architecture, oral tradition, textiles, and rituals. This is how our people remember, resist, celebrate, and reimagine themselves, especially in times when words alone are simply not enough. The common misconception is that arts and culture are purely for entertainment and decoration — something to enjoy on the weekends or admire from a distance — when in fact, they are critical tools for education, healing, resistance, and nation-building. They carry histories, shape identities, and offer spaces for dialogue that politics and traditional institutions frequently fail to consider. South African arts are not a luxury — they are a necessity, especially for a people whose histories have been silenced, erased, or distorted. As a Black woman in this country, I know that our stories, our rhythms, our languages, our images, and more have persistently upheld the truth where Euro-Western institutions have failed us. The arts are where we reaffirm our identities, where we unlearn what we've been told to forget, and where we reimagine what freedom in post-apartheid SA looks like. They are not just about rarities and beauty; they are about inherent power. In a nation still healing from the barbaric atrocities of the slaughterous apartheid regime, still finding its voice amid rampant destitution, it is truly our creatives — our poets, our painters, our performers, our sculptors — who are challenging erasure, asserting that indeed, 'we are not guests, we are the foundation'. As I walked through the multi-level Decorex exhibitions, being immersed in vibrant Xhosa and Tsonga patterns boldly integrated into contemporary designs and textiles, observing architecture and trends that echoed indigenous knowledge systems, I was moved by the range of voices on display. From rural beadworkers to urban ceramicists, young budding designers to master embroiderers, artists from every walk of life brought their stories to life through colour, texture, and form. This wasn't just design — it was Ubuntu / Botho in motion. It was a celebration of who we are: layered, diverse, and deeply rooted in culture. More importantly, it was a stark reminder that our creativity is our power, as much as it is a reflection of ourselves. Our pain, our brilliance, our voices — all brought to life by artists who know that culture is not just decoration, it is identity. But as I walked, admired, and conversed, I also felt an undeniable urgency. It is high time — past time — for South Africans to see arts and culture not as a luxury or afterthought, but as a lifeline. We are a nation fractured by a harrowing history, rampant inequality, and an annoyingly persistent erosion of shared meaning. Our politics remain divided, the systems meant to serve us are falling apart, our public spaces grow increasingly volatile, where our children are not safe in schools, and our elderly are not safe in their own homes. And yet, in the midst of all this, our artists continue to create. They shape beauty from what has been broken, carve identity from chaos, and remind us of our collective strength. With every thread, brushstroke, and design, they are dissolving the boundaries that perpetually divide us. Arts and culture are not soft. They are not optional. They are the backbone of who we are as a society. They are what changes a collection of individuals into a shared story. They separate mere existence from true belonging. The immense, powerful value of arts and culture across global society cannot be underestimated. From the Civil Rights Movements of the USA, to Brazil's Favela Art Movements, to our very own Anti-Apartheid movement, arts and culture were centred, and the results are tangible: social cohesion, national pride, and evident hope. For far too long, South Africa has continued to sit on the same explosive potential. Our storytellers, painters, crafters, dancers, poets, filmmakers, designers, and so many more are world-class — not just in talent, but in their power to breathe life into the unseen, to turn distant, intangible ideas into powerful emotions that are impossible to ignore. Yet too often, these creatives are unsupported, underfunded, or overlooked. Public arts funding continues to shrink while elite galleries remain gatekeepers. The Department of Sports, Arts and Culture has in the past been plagued with insufficient funding, compromising historical and cultural preservation, and minimising the prospects of so many artists across our society. This also implicates the empowerment of entire households across our society. When, instead, the realm of arts and culture should be highlighted as a source of income and inspiration. According to the South African Cultural Observatory, over a million South Africans are wholly dependent on the creative economy. The visual arts and crafts sector is the largest domain within the creative economy of South Africa. From unique crockery to elaborately designed blankets and many more practical items, these creative expressions offer not just beauty but sustained livelihoods. They turn tradition into opportunity, craftsmanship into commerce, and heritage into hope. Supporting arts and culture means investing in the skills and dreams of entire bloodlines — from rural artisans to urban designers — who contribute to the heartbeat of our economy and identity. It's a chance to honor creativity as a foundation for sustainable growth and collective pride. We are currently in a state where local crafts are sold to tourists but are very rarely valued at home. We celebrate our culture when it wins Grammys or Oscars, but we dismally fail to nurture it in schools, communities, and policies. The consequences of this neglect are dire. Without arts and culture, we lose sight of ourselves and the communities that define us. We forget - not just our past - but how to be part of something greater. But change is certainly possible - in fact, it is inevitable. The South Africa on display at Decorex was vibrant, evolving, thriving, and inspiring. What it needs now is dedication, investment, action, and commitment. This was more than art — it was resistance. It was a refusal to erase who we are. Our creatives are reclaiming space, retelling the story of South Africa not through colonial eyes, but through our own. We must stop treating artists as mere accessories and start recognising them as architects of meaningful national renewal. We need to raise children who understand that the arts are not an extra; they are at the core of what it means to be South African. This generation and the next must know that creating is not a luxury; it's a powerful act of identity. Arts and culture must become a central pillar of our national recovery, not because it's easy, but because it's essential. The future is being carved, stitched, painted, and handcrafted right in front of us. In the curves of our craft, in every careful cut in wood and cloth, a new world is being born. We must not miss its arrival. As powerfully uttered by an African proverb: 'If art is the breath of a nation, then let us never again choose silence.' * Tswelopele Makoe is a Gender & Social Justice Activist and the Editor at Global South Media Network (GSMN). The views expressed are her own. ** The views expressed do not necessarily reflect the views of IOL, Independent Media or The African.
