China and South Africa deepen economic cooperation through trade initiatives
Strengthening ties: China and South Africa enhance cooperation through trade and investment Strengthening ties: China and South Africa enhance cooperation through trade and investment
With China increasing its engagement in Africa, collaboration between China and South Africa is continuing to transforming trade, investment, and economic cooperation for both nations.
This week, the Daily News was granted an exclusive insight from the Chinese Consul General in Durban Li Zhigong who shed light on vast opportunities waiting to be tapped into between both nation nations. In the interview with Zhigong, praised the the burgeoning partnership between China and South Africa.
The Consulate General highlighted that he was taking firm steps to promote bilateral trade and investment, especially within KwaZulu-Natal, an area rapidly gaining recognition as a gateway for Chinese investment into the region. By facilitating business delegations, organising matchmaking events, and supporting trade expos, the consulate plays a pivotal role in creating fertile ground for both South African and Chinese businesses.
Zhigong highlighted that major Chinese companies, including YOA Cabel, ZPMC, and NPC, have already made significant investments in the province. Their contributions not only boost the local economy but also forge deeper economic ties between China and South Africa. For South African businesses eager to tap into the vast Chinese market, the Consul General underscored the importance of leveraging existing bilateral trade agreements.
He pointed out that events like the China International Import Expo (CIE) act as vital platforms for showcasing South African products, particularly wine, which has found a warm reception among Chinese consumers. Additionally, the recent opening of the Chinese market to South African avocados and soybeans marks a significant opportunity for producers in the region.
Zhigong emphasised that provinces such as Guangdong, Fujian, and Guangxi—which are sister provinces to KwaZulu-Natal—regularly host trade fairs that encourage economic collaboration. He added that prospects in sectors like the digital economy, green energy, and advanced manufacturing continue to increment the appeal of the Chinese market for South African enterprises.
These industries not only promise growth but also offer a diverse array of opportunities for collaboration. "Provinces like Guangdong, Fujian, and Guangxi—KwaZulu Natal's sister provinces—regularly host trade fairs and economic forums that provide platforms for cooperation.
For example, the China- ASEAN Expo in Guangxi also highlights African participation. With opportunities in digital economy, green energy, and advanced manufacturing, China offers South African companies a growing and diversified market," he explained.
In conclusion, the Belt and Road Initiative (BRI) has also emerged as a cornerstone in the framework of this evolving relationship.
Zhigong detailed how the BRI enhances economic ties by promoting essential infrastructure development and facilitating trade, as well as encouraging people-to-people connectivity.
In addition, various logistics and energy projects aligned with the BRI are already making a tangible difference in South Africa, integrating with the country's national development goals and promoting sustainable cooperation that benefits both nations, he explained.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

TimesLIVE
an hour ago
- TimesLIVE
Ngugi was simply ordinary — a man of the people
Ngugi wa Thiong'o, the Kenyan playwright, novelist and thinker, who died on May 28, has left a huge intellectual gap in Africa's cultural and political landscape. Instead of mourning him, I have chosen to celebrate the intellectual legacy of this generous and authoritative African sage I was privileged to have encountered during my undergraduate days at Nairobi University and much later as a scholar of Ngugi and African literature. When I arrived in South Africa in 1991, Ngugi was the most widely known African writer in the academy, in spite of apartheid. As early as 1981, the widely respected South African journal, English in Africa, had dedicated a special issue to his works. His most widely referenced text then, was Decolonising the Mind. Indeed, he is the most widely taught African writer in the global north and the global south, alongside Chinua Achebe — the man who published his award winning novel, Weep Not, Child under Heinemann African Writers Series. When the prestigious Cambridge University Press decided to publish worldwide series on 'Leading Writers in Context', again it is Achebe and Ngugi who featured from Africa, and I am deeply privileged to have been asked to serve as the editor of the volume on Ngugi in Context. His works have been widely translated in several languages across the globe: Japanese, German, Chinese and in many parts of Asia. I hope we will soon see his works getting translated into African languages across the continent. During his last days, he had embarked on translating his novels written in English into Gikuyu. It needs no emphasis that Ngugi remains one of the most influential African writers over the past few decades of Africa's independence, not only for his creative works but also for his wide-ranging contributions on Africa's cultural thought and political life. Indeed, the role of the writer in shaping the cultural and political life of his people is an enduring theme in all his works. He was concerned with the role of culture as a source of historical memory and as a weapon against all forms of oppressive regimes. But he was also interested in narrative, specifically imaginative literature, as an agent of history and self-definition, an instrument for taming and naming one's environment. He was concerned with literature's role in the restoration of African communities dislocated by colonialism and the repressive postcolonial states that followed. As early as 1972, Ngugi was already drawing attention to how the tyranny of the past exerts itself on his works. He wrote: 'The novelist is haunted by a sense of the past. His work is often an attempt to come to terms with 'the thing that has been,' a struggle as it were, to sensitively register his encounter with history, his people's history' (Homecoming, 39). For Ngugi then, the novel was an instrument that wills history into being and therefore, as a writer, he always located himself at the intersection of history and literary imagination. Ngugi always insisted that colonial subjects were detached from their mainstream history and therefore their identity was shaped by forces alien to their local universe Ngugi always insisted that colonial subjects were detached from their mainstream history and therefore their identity was shaped by forces alien to their local universe. For him, the search for Africa's identity therefore lay in a reconstructive project to reassert a radical form of Africa's historiography conceived from below. At the heart of his restorative project was also his call for a return to the source, which would also involve the privileging of African languages in the production and consumption of local cultures. For him, it was only African languages that had the capacity to recover those African cultures repressed by colonialism and to equally carry the weight of a national history and memory. Genuine national literature, Ngugi argued, can only flower in local indigenous languages because literature as a cultural institution works through images and language embodied in the collective experience of a people. Ngugi always positioned himself as a writer in politics. He was hounded at home by one Kenyan political regime after the other and eventually driven into exile in the eighties by the repressive Moi regime in Kenya in the 80s. Little wonder then, that themes of dislocation, abandonment and exile dominates his works, written against the backdrop of authoritarian structures of control and imprisonment. Ngugi's early works are heavily weighted towards fiction, and the later lean towards non-fiction. In the 1960s and 1970s, which saw the publication of four novels, two plays and a collection of short stories, Ngugi produced only one volume of essays, Homecoming. But after his last major work of fiction in English, Petals of Blood (1977), Ngugi wrote a total of five collections of essays as opposed to only three novels, Devil on the Cross (1981), Matigari (1986), and his latest novel, The Wizard of the Crow (Murogi wa Kagogo (2005), written first Gikuyu before translation. But it was the establishment of a community theatre in his home village of Kamiriithu, and the staging of the play, Ngaahika Ndeenda (I Will Marry When I Want), that really raised the ire of the Kenyan authorities, leading to the banning of the play, his arrest and detention without trial. It also marked a major turning point in Ngugi's life when in prison, he used the language of his incarceration to write his first Gikuyu novel: Caitaani Mutharabaini (Devil on the Cross), on rolls of toilet paper. Subsequently, it is only Ngugi's collection of essays that he would continue to write in English, obviously aimed at the academy, with whom he continued to wrestle with over a range of cultural and political issues. The joy of reading Ngugi's essays is that they serve as a theoretical elaboration of themes and topics akin to his narrative. If Writers in Politics (1981), and Barrel of a Pen (1983) essays seek to question the colonial traditions of English and Englishness inherited at independence, Decolonising the Mind (1986), and Moving the Centre (1993) push the debate to its limits by insisting that the roots to Africa's freedom lay in the articulation of a new idiom of nationalism that would liberate the African identities from the prison house of European languages and cultures. The project should not only involve the privileging of African languages in the making of African cultures, but also the struggle for the realignment of global forces such that societies, which have been confined to the margins will gradually move to the centre, to become not just consumers but producers of global culture. It is the denial of the cultural space by the postcolonial state tyranny and global imperialism that Ngugi elaborates on in Penpoints, Gunpoint, and Dreams. Here the culture of violence and silence that has come to define the postcolonial state; the state's desire to saturate the public space with its propaganda, is counterpoised against a radically redemptive art that seeks to erect a new regime of truth by reclaiming and colonising those spaces through the barrel of the pen. In his most eloquent collection of essays, symbolically entitled Moving the Centre, Ngugi draws attention to the effect of the colonial archive in arrogating what constitutes the real historical subject to the imperial centre. When Ngugi calls for moving of the centre, he is in essence trying to suggest that in terms of history and discursive knowledges, the West has always positioned itself as the true self — the centre — while the empire remains the Other and on the periphery. Indeed, one of the legacies of the colonial encounter is a notion of history as 'the few privileged monuments' of achievement, which serves either to arrogate 'history' wholesale to the imperial centre or to erase it from the colonial archive and produce, especially in the Empire or the so-called New World Cultures, a condition of 'history-lessness', of 'no visible history'. Both notions are part of the imperial myth of history because history is defined by what is central, not what is peripheral and those not central to an assumed teleology or belief system, are without history. It seems to me that even a superficial reading of Ngugi's narrative and his critical essays over the years, point to a conscious project of transforming our inherited notions of history, especially the position of the colonial subjects as inscribed within imperial discursive practices. If the imperial narrative attempted to fix history and to read the empires history as the history of the other, by making reference to its set of signs located in its cultural landscape, Ngugi's position is that the history of Africa need not be contingent upon the imperial allegorising. Allegory here is used to mean a way of representing, of speaking for the 'other', especially in the enterprise of imperialism. Whatever the ideological drifts and shifts in his body of work, Ngugi's fundamental belief is in the restorative agency embedded in all human cultures — the return of the other to the self. This is what he celebrates in his theory of globalectics — a theory that seek seeks to destabilise the privileging Western ways of knowing and instead celebrates those many streams of knowledge, regardless of their origins, as humanities collective experience. The creation of a humanistic wholeness and healing, has been at the core of his poetics over the years. The return to memoirs over the last decade or so was perhaps his last attempt to lay bare his soul and spirit; his life history as fragments of many forces — a rich tapestry into a life crafted around complex and layered forces of family and larger biographical universe. As a person, Ngugi was profoundly warm and down-to-earth, and always carried himself around with a deep sense of humility and ease, not to mention his infectious laughter and humour. He was simply ordinary — a man of the people. May his legacy live on and his soul rest in peace until we meet again in the land our ancestors. James Ogude, Professor of African Literatures and Cultures. Professor and Senior Research Fellow, and author of Ngugi's Novels and African History. Centre for the Advancement of Scholarship, University of Pretoria, South Africa


The South African
an hour ago
- The South African
These surprising cities saw the biggest increase in millionaires
While American cities like New York or the Bay Area still boast the most dollar millionaires in real numbers, a few destinations have emerged as new hubs for the wealthy. These cities have seen the biggest increase in dollar millionaires over the past decade. They're mostly fast-growing centres of technology and innovation. Meanwhile, a few also offer tax incentives to attract the wealthy. That's according to the World's Wealthiest Cities Report 2025, which is published by Henley & Partners, a firm that advises the wealthy on where to move to look after their assets. Between 2014 and 2024, Shenzhen saw a 142% increase in dollar millionaires. The Chinese city is a major technology hub, with companies like Huawei and Tencent based there. Once a rustic fishing village, Shenzhen is now the fastest-growing destination for dollar millionaires. The technology scene continues to attract entrepreneurs and financiers. Most South Africans may not hear much about Scottsdale, but tech entrepreneurs and those with six-figure account balances will know all about it. The American city's millionaire population grew by 125% over the past decade. Like Shenzhen, Scottsdale's attraction is its booming tech industry. It also offers a luxurious lifestyle, especially in golf estates, and favourable state tax conditions. It could be a surprise, but this Indian city is popular with the very wealthy. Bengaluru, also known as Bangalore, saw a 120% increase in dollar millionaires. That took place in just ten years, between 2014 and 2024. The city's flourishing tech industry, affordable living costs, and growing infrastructure have made it a hotspot for the wealthy. Over the past decade, West Palm Beach gained 112% more dollar millionaires. This American city offers the wealthy a laid-back lifestyle, thanks to its coastal location. Because the state of Florida has low taxes, businesspeople and rich professionals also flock to West Palm Beach. 108% more millionaires now live in Hangzhou, compared to ten years ago. That growth coincided with the rise of tech companies in the city, including Alibaba. Hangzhou is a historic city with pretty scenery, making it even more attractive to the affluent. Let us know by leaving a comment below or send a WhatsApp to 060 011 0211. Subscribe to The South African website's newsletters and follow us on WhatsApp, Facebook, X, and Bluesky for the latest news.

IOL News
2 hours ago
- IOL News
TFG's robust earnings reflect strategic growth and online success
TFG's results for its 2025 financial year underscored a focus on market share growth, margin improvement and cost management, said its CEO, Anthony Thunström Image: Supplied JSE-listed international fashion, homeware and lifestyle retailer TFG's robust financial results for the year to end-March 2025 were fueled by a strong second half from TFG Africa, store expansion, and the acquisition of White Stuff in the UK. Headline earnings a share (HEPS) were up 4.6% to 1015.6 cents. The final dividend was raised by 15% to 230 cents a share. 'The result underscored a 'relentless' focus on market share growth, margin improvement, and cost management,' CEO Anthony Thunström said in a statement. The group has a portfolio of 39 leading retail brands, with over 4 900 outlets in 23 countries on five continents. 'We are targeting the opening of over 100 new stores in the coming year while optimising our existing footprint. With the Riverfields distribution centre now close to fully operational—alongside our other growth and efficiency strategies—we expect continued improvement in operating margins and capital returns in 2026 and beyond,' said Thunström. The Africa business led the charge in the past year with "exceptional" results in the second half. Online sales surged, driven by the success of the Bash platform, which had reached profitability two years ahead of schedule: 'a very likely unique achievement in the South African retail space,' said Thunström. Gross margins expanded by 150 basis points. These gains, along with disciplined cost management across divisions, translated into solid profit growth. Online sales maintained momentum and accounted for 12% of group sales, up from 9.9% the previous year. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ Ad loading TFG Africa's sales were up 7% in the second half as the base normalised from the prior year's first half's clearance activity. All brands and categories showed improvement, generating full-year growth of 3.7%. Thunström said there was strong growth ahead of the market from womenswear, beauty, and jewellery, as well as recently acquired businesses, Jet and Tapestry, where the retail platform provided credit, online, and distribution capabilities. Online sales grew 43.5% and contributed 5.8% (2024: 4.2%) to total TFG Africa sales. TFG UK increased sales 16.4% in pounds following the acquisition of White Stuff from October 25, 2024. White Stuff saw 20.3% year-on-year growth for the five months post-acquisition. The addition of White Stuff to the portfolio saw store sales up 11.8% and online sales grow 22.5%. Online sales now contribute 44.8% (42.7%) of total TFG UK sales. TFG Australia faced difficult trading conditions, with sustained high inflation and interest rates impacting the consumer. Sales were 2.6% lower in Australian dollars, with a mixed performance throughout the second half in a 'highly promotional market,' Thunström said. Online sales grew by 7.3% and now contribute 8.1% (7.3%) to total TFG Australia sales.