He appeared in the Mthatha Magistrate's Court. The broadcaster reported that the legal team received the docket on Thursday morning and asked for time to go through it and consult.
Mandela allegedly drew a firearm in Mthatha in October after a teacher, Mlamli Ngudle, crashed his car into a car driven by one of Mandela's guests.
Ngudle had to undergo emergency surgery to remove a blood clot from his brain, according to the newspaper.
Meanwhile, according to the City Press, Mandela and his estranged first wife Tando Mabunu-Mandela were in the high court in East London in early December. She wants his marriage to his third wife annulled.
On Friday, Mandela's lawyers were back in the same court applying for an urgent interdict to stop the sale of 50 of his cattle at an auction in Mvezo.
The newspaper reported that the law firm wanted Mandela to pay them R467 400 plus 15% interest, according to an order against him at the high court in Cape Town.
Mandela's application was dismissed as not urgent on Friday, and the sale was given the go-ahead. But no one pitched up to buy the cattle, and the auction was abandoned.
Mandela's new lawyer, Arnold Immerman, was pleased the cattle were not sold. This would buy them more time.
Mandela said: "I have not received any summons calling for me to go to court. As for the auctions, I have no idea. I don't even attend auctions." – Sapa
Suspended Cosatu general secretary Zwelenzima Vavi wants to testify at the Khayelitsha commission of inquiry after one of his relatives was recently murdered in the areay.
He said on Monday he would try to get on the commission's list of witnesses. Vavi was speaking to reporters before attending the eighth day of oral hearings by the commission, which is mandated to investigate allegations of police inefficiency in the area.
He said he attended the funeral service of his sister's murdered granddaughter in Khayelitsha on Sunday. Busiswa Sizaba, believed to be about 25 years of age, was found dead on a street in Harare, Khayelitsha, about two weeks ago.
in Khayelitsha on the Friday. When they arrive it's on the fifth day since she has died basically," Vavi said, describing how his sister was informed of her grandchild's death.
Family members then went to Busiswa's boyfriend's house in a bid to find out how she died. "They found this place, a backyard shack. They found a person – the person is known ... he is known to be the king of the reign of terror basically in the community," Vavi said.
"When they arrive, there is blood all over in the shack and clearly the story now changes from somebody who was picked up in the street to somebody who was probably murdered in the shack and got thrown out in the streets ..."
Questioned by Vavi's relatives, the boyfriend said he was traumatised by the death and had therefore not thought about informing the family or police. "The police have been investigating this guy [who is] clearly now a murder suspect. Nothing has happened [and] it's now the end of the second week since that murder has happened," Vavi said.
This was but one example of why residents did not trust the police to enforce the law. "They [residents] fear the skollies. They have no confidence in the police.
"They love the taxi drivers because they mete out the street justice to these guys who impose this reign of terror."
Vavi's own family members were becoming impatient with police inaction and thought they had little alternative but to approach taxi drivers to help them. "[There is] no confidence, [a] breakdown of trust and helplessness and you have to resort to either join these taxi drivers and beat these guys up or you fear them [thugs], full stop. There is no other option," Vavi said.
The commission – headed by Judge Kate O'Regan – was established by Western Cape Premier Helen Zille to probe accusations by civil society formations that police inaction was leading to an increase in mob justice killings.
The commission was delayed for some time when Police Minister Nathi Mthethwa tried to have it scrapped.
The Supreme Court of Appeal will on Tuesday hear an appeal by the National Prosecuting Authority (NPA) against a judgment forcing it to continue prosecuting suspended police crime intelligence head Richard Mdluli.
On December 2 last year, deputy judge president of the high courts in Johannesburg and Pretoria Aubrey Ledwaba granted leave to appeal against Judge John Murphy's ruling in favour of Freedom Under Law.
On September 23 2013, Murphy set aside a decision to withdraw charges of money laundering and murder, and disciplinary proceedings, against Mdluli. He ordered that the charges be reinstated and Mdluli prosecuted.
Mdluli was suspended amid charges of fraud and corruption, and charges relating to the murder of his ex-lover's husband, Oupa Ramogibe, in February 1999.
In May 2012, Police Minister Nathi Mthethwa announced that Mdluli was being moved from crime intelligence to the office of the deputy national police commissioner for operations. Later that month he was suspended a second time for allegations that emerged from the inquest into Ramogibe's murder.
Ledelle Moe's monumental concrete and steal sculptures are an ambiguous amalgam of somnolent organic figure and rolling landscape. (Supplied)
Ledelle Moe’s monumental concrete and steal sculptures are an ambiguous amalgam of somnolent organic figure and rolling landscape. She is fascinated by the contradictory “permanence” of concrete juxtaposed with notions of transience, fluidity and change. Having recently returned to live in South Africa again after 19 years in the US, Ledelle is exploring issues of belonging, ownership, displacement and memory in her work by using aggregates from different places in South Africa.
Lara Klawikowski is a Cape Town-based fashion designer whose aesthetic is inspired by nature and the organic qualities of fabric.
She describers her designs as “wearable art”, which are characterised by advanced construction, unusual draping and tailoring techniques and the re-purposing of fabrics and materials. She says: “Both fashion and art are the result of inspiration and the more authentic the inspiration, the more powerful the result. When you wear fashion, you are literally wearing someone’s idea, inspiration and art. I try to diffuse my concepts as little as possible and keep the garments I create close to the original inspiration.”
Born in Pietermaritzburg, David Southwood has been a practicing photographer for over a decade – roughly the same amount of time he has spent observing, participating in and photographing the Milnerton flea market. In 2011 a collection of these photographs were published by Fourthwall Books, forming a powerful record of an outskirt economy seeking to earn a living through trade in secondhand goods.
Making up another notable portion of his body of work is Roads to Places, which is divided into the series Nothing in Particular, In Between and N1 Highway. For the latter (exhibited at Whatiftheworld gallery in 2012) David avoids the spectacular or obvious to present an awkward, often empty public stage comprised of events, personalities and traces of habitation encountered while travelling the N1.
His most recent project, Stowaways, examines the lives of a community of Tanzanian stowaways living under the National Road One in Cape Town – a collection of images that now exist as a broadsheet newspaper (with text by Sean Christie) called Memory Card Sea Power.
Following on from the recent release of the music video for iJusi directed by Gregor Lehrl, we’re going even deeper into the mind of Okmalumkoolkat’s Smiso Zwane with a music video for the track Allblackblackkat – this time directed by the Johannesburg-based photographer and filmmaker Chris Saunders. Playing with memory, reality and generational shifts, the music video is loosely based on a Zulu cleansing ritual (which Okmalumkoolkat experienced growing up) performed on a male family member before funerals. Through the visual direction of Saunders, this traditional ceremony is contrasted with other South African modern sub-cultural influences which have manifested Okmalumkoolkat’s own sound and dance.
While travelling through Barcelona and Lisbon in the height of the summer holiday madness and armed with a stock of 35mm film, Gabriella Achadinha shot two series of photographs investigating space and figures. Though there is a certain relation between them in regards to a moment of stillness within two holidaying destinations, each series stands comfortably on its own – one focusing on figures in relation to these spaces, and the other on the landscape and urbanscape.
The first is titled Figures, and of this series Gabriella says that “traveling alone awakens one completely to the feel of a land; the interaction between locals, the chaos tourists find themselves in, the subtle language between people and spaces. Lonesome figures are increasingly pronounced and moments of contemplative silence in places of extreme hustle become revered.”
In the second series, Spaces, Gabriella “wanted to explore an understated side of these two Iberian paradises of culture, sun and architecture. Moments of saudades in spaces that were once frequently visited, snippets of internal reflection felt in limbs and positioning, a voyeuristic visual diary of watching those around and their relationship with place.”