The Fascists Do Like Their Walls, Don’t They

When a government refuses to confront inequality, it builds a wall. It is easier than justice, faster than reform, and far less uncomfortable than asking why crime exists in the first place. The City of Cape Town’s proposed ZAR180 million wall along the N2 is being sold as a safety measure. In reality, it is a design choice rooted in fear, optics, and a long tradition of pretending that poverty disappears when it is hidden from sight.

Table Mountain stands close enough to see, and far enough to deny an entire generation access to the city beneath it.

This kind of decision never exists in a racial vacuum. In South Africa, walls do not simply divide space. They divide bodies, histories, and assumptions. The communities being screened off along the N2 are overwhelmingly poor and overwhelmingly Black. The message is intentionally wrapped in the neutral language of “risk mitigation” and “public safety” but it is nonetheless blunt: danger lives there, and safety belongs here. Crime is racialised by geography, and poverty becomes a visual contaminant to be managed rather than an injustice to be addressed.

This is where the wall goes beyond being offensive, and starts becoming familiar. Fascist movements have always understood that separation does half the ideological work for you. You do not need to convince people that others are dangerous if you can simply place a barrier between them. Walls externalise fear, harden prejudice, and erase context. They turn political failure into architecture and call it order.

The City insists that the wall will stop stoning incidents and criminal attacks on vehicles entering Cape Town. This is security theatre dressed up as urban planning. It assumes crime is static, unimaginative, and spatially obedient. It ignores the rather well-documented reality that criminals tend to go around, over, under, or through obstacles placed in their way. Sometimes they bribe. Sometimes they adapt. Sometimes they operate from the “safe” side of the wall entirely.

A wall does not dismantle criminal networks. It does not interrupt supply chains. It does not address motive, opportunity, or organisation. It simply moves the problem out of sight, which is, of course, the point.

This brings us to the most corrosive lie underpinning this project, that low-income communities produce criminals. More than being just wrong, it is also lazy, dangerous, and morally bankrupt. We do not know who these criminals are. We do not know where they come from, how they operate, or who benefits from their actions. Crime in South Africa is not a spontaneous chemical reaction triggered by poverty. It is structured, organised, and often profitable. To collapse this complexity into a moral judgement about low-income communities is quite simply scapegoating. Worse still, it blames people who are themselves the most exposed to violence.

The communities along the N2 are saturated by crime. They live without the buffers that wealth provides. They do not have private security patrols, high walls topped with electric fencing, nor rapid-response panic buttons. When crime happens there it does not become a headline because it is a condition of daily life. And yet somehow, such communities are framed as the threat rather than the threatened.

This is where the City of Cape Town’s moral priorities become impossible to ignore.

The urgency around this wall did not emerge because residents of these communities are unsafe. It emerged because tourists are. The crisis is not violence itself, but violence that interrupts the airport corridor, the welcome mat, the first impression. When locals suffer, the city shrugs and cites complexity. When visitors feel uneasy, budgets are magically unlocked and the concrete mixers roll in.

Tourist safety is treated as an economic imperative. Local safety is treated as an unfortunate complication. And so, we arrive at the real function of the wall. It is not about protection. It is about erasure.

The wall is meant to stop visibility, to hide poverty from passing eyes, to preserve the illusion of a “world-class city” untroubled by the realities that sustain it. This impulse, to sanitise space, to prioritise aesthetics over justice, to bulldoze truth in the name of development, has become a defining feature of Cape Town’s governance.

We have seen it in the city’s hostility to the Save Our Sacred Lands campaign. We have seen it in the Two Rivers Urban Park development, where community heritage voices about sacred spaces were treated as obstacles rather than stakeholders. Again and again, the same pattern emerges. Dissent is inconvenient, poverty is embarrassing, and development must proceed, even if it requires erasure.

This is neoliberalism flirting openly with authoritarian instincts. It is fascism without the theatre, exclusion without the rhetoric. It is clean, efficient, and devastatingly polite.

The obscenity of this project is sharpened further when one follows the money. ZAR180 million is being marshalled for concrete, steel, and the maintenance of denial. We are told, endlessly, that meaningful solutions to crime are too complex, too expensive, too difficult to implement.

This is simply not true. The truth is far more uncomfortable. Walls are chosen because better solutions would require the city to see people living in poverty as worthy of safety even when no tourist is watching. That refusal, to recognise dignity without an audience, is expressed in budgets, in planning decisions, and in what the city repeatedly chooses not to fund. And it is precisely here that the wall collapses as a solution and reveals itself as a choice.

The same funds earmarked for a wall could be used to strengthen community capacity, organisation, and agency. These are the elements that actually produce safety over time. Community-based safety workers, mediators, and first responders drawn from local neighbourhoods are sustainable solutions to crime and violence. Their effectiveness lies in presence, relationships, and accountability because they are forms of safety that cannot be outsourced or poured in concrete. Within a ZAR180 million budget, the city could sustain hundreds of such roles over several years, embedding safety within communities rather than imposing it from the outside.

Investment in youth employment and skills development sits within the same logic. Cities that have meaningfully reduced violence have done so by expanding people’s stake in their communities and their futures. Medellín[1] is particularly instructive because it reorganised power and possibility. By investing in education, mobility, public space, and local enterprise in historically marginalised areas, the city enabled young people to participate as producers of the city. Safety emerged through inclusion, opportunity, and shared ownership of place.

Culture played a central role in this process. Music, visual arts, dance, theatre, and community media were engines of mobilisation and cohesion. Cultural programmes created spaces where identity could be expressed, solidarity built, and public areas reclaimed. Youth orchestras, hip-hop schools, arts centres, and neighbourhood festivals strengthened social ties and made communities visible on their own terms. These initiatives displaced violence by filling public space with meaning, activity, and collective presence.

The same principle underpinned Glasgow’s[2] shift toward treating violence as a public issue rather than a moral defect. Community-led interventions, long-term investment in people, and a recognition of shared responsibility reshaped how safety was produced and sustained. In both cases the lesson is direct, which is that communities become safer when they are empowered to organise, care for one another, and shape the environments they live in.

Strengthening trauma-informed health services, substance-use support, and victim assistance fits squarely within this framework. Violence fractures social bonds. Repairing those fractures is part of rebuilding safety. Care, culture, and opportunity are therefore the foundation of community safety and security. 

These are tested approaches to safety that are grounded in community agency, shared ownership, and sustained public investment. The question for Cape Town is why they are so readily dismissed in favour of concrete and concealment.

Safety and wellbeing is produced when communities are resourced to organise, to care for one another, and to shape the spaces they inhabit. This is slower work than pouring a wall, but it is also the only work that lasts.

Written by Merlin Ince


[1] Story of Change: The Medellín Miracle

[2] Glasgow’s Community Initiative to Reduce Violence

Beneath the Lines that Colours Draw

When we dampen the colour on our perspective, we adopt a marginal identity in experiencing the energy of a space. It is far from the glossy covers of tourist brochures that capture mainstream shades and impressions. This photo essay, from the streets of Cape Town city centre, represents the texture and rhythm that is often distracted by colour. In creating depth of dimension, we can explore what connects us beneath the lines that colours draw.

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Minaret of the Quawatul Islam Mosque on Loop Street, framed from the yard of St. Martini Lutheran Church on Long Street.

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“All shall be equal before the law” Shot from behind the fence of a yard on Queen Victoria Street near The High Court

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Looking up Long Street towards the flag-draped Overbeek apartment block.

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Dancers at the intersection of Government Avenue and Wale Street, near the Company’s Gardens

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Pedestrians and traffic intersect at the corner of Green Market Square and Long Street

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Commuters and shoppers at The Deck on Cape Town Station

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Navigating limited access and opportunity at Cape Town Station

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Up and down the steps of the taxi rank on The Deck at Cape Town Station, to and from the central CBD

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From shadow into light, gazing down Caledon Street

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A worshiper entering the Jumu’a Mosque of Cape Town on Orange Street

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Passing by the St Martini Lutheran church at the top of Long Street

 

By Merlin Ince and Tashwill America (16m Photography)

Homeless and hopeful

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Ameer makes a living from collecting cardboard and metal cans for recycling

It is very easy to ignore a homeless person. The idea of not having a secure place to live or a weathered appearance conveys a sense of anonymity. Their identity becomes opaque and distant from the mainstream traffic of cities, hastily rushing to work or back home. For those who have neither of these, they struggle to find recognition.  Living on the streets is a marginal existence but there are still stories of dignity behind every face of such hardship.

The City of Cape Town’s mayoral committee for social development has found that there are more than 7 000 homeless people in the municipality. Ameer is one such person. He came to Cape Town from Bloemfontein on a pretentious job offer, expecting to work as a van assistant on overnight truck hauls, with the promise of advancing his interest in motor mechanics. Instead, he was told to guard trucks owned by a businessman who was not prepared to pay the expensive fees of truck stations. Ameer was not remunerated, he was mistreated, and left to fend for himself. With no family or other support network in Cape Town, he took to the hostile streets of the city to make a living.

On any given morning, Ameer can be found outside the Woolworths on Kloof Street where he has an arrangement with the store manager to collect the cardboard from delivery trucks. He also collects empty metal cans which he crushes into flat disks, all for recycling. It is a harrowing mission to transport these waste materials on a makeshift cart about 3km from the CBD to Woodstock, competing with the morning traffic that impatiently hoots at him for getting in their way. This same traffic hurries off to produce more waste that Ameer finds a purpose for. He sells the cardboard for about 70c per kg and the cans for R10 per kg. He makes just about enough to buy some food for the day.

The Centre for Food Security at the University of the Western Cape has found that individuals like Ameer, across the country, save municipalities R 700 000 per year by keeping recyclable material from exhausting landfill sites. But despite the dignity and purpose that Ameer manages to find from wastepicking, he still faces indignation.

Security personnel in the city consider Ameer as a criminal. He is often rudely awakened from the meagre shelter of an alleyway or bus stop by a group of security guards. They have used pepper spray and batons on occasion to wake him up and chase him away: “They think I am going to break into the cars and steal something,” he says. “I just avoid them. I can’t even sit anywhere I want. They watch me like I am going to steal something. That is what I wish for more than anything else, just to be able to walk and sit anywhere. But that creates trouble for me so I just avoid them.”

Thankfully Ameer has been able to experience a kinder face of the city through a clinic in Greenpoint. Even though he is not an outpatient, the facility still provides support for him. Ameer is able to speak with a counsellor, take a shower, and have a meal twice a week. His face lights up and softens when he speaks about the care he receives, like it is an oasis of hope in the midst of a harshly marginal existence out on the streets of Cape Town.

Hope is what Ameer holds on to most firmly, resolving himself not to give in to the tragedy of what brought him to this space: “I do my best everyday with whatever I can get. I still want to go back home to my grandmother in Bloemfontein.” Ameer has been trying to save money to afford transport back home to be reunited with his grandmother, younger brother, and sister. He also has dreams of pursuing a career when he has settled himself again: “I always wanted to work with cars, like a motor mechanic, even to one day own my own workshop, I would be so happy for that.”

Holding hope and adversity is hard to do. Those who live on the margins must bear the strain of this arduous identity everyday, tragically muted by the traffic of mainstream city life, chasing capital. This counterpoint of city life is highlighted by artists such as Brazilian writer Jorge Amado. In the introduction to his novel Captains of the Sands,  Colm Tóibín points out that Amado unearths the dignity of abandoned children on the streets of Bahia in Salvador but the book does not romanticize their story, “it is written to give substance to shadows, to re-create the under-life of the city, to offer the dispossessed an inner life.”

Stories of people like Ameer can help us bring light into peripheral shadows in order for us to re-create cities as more inclusive and respectful spaces. But only if we slow the traffic down, stop, and listen.

Written by Merlin Ince