The Last Country: A poignant portrayal of migrant women's resilience in South Africa

The cast of The Last Country after performing at The Market Theatre (from left to right): Andile Vilakazi, Nompilo Maphumulo, Mpume Mthombeni, and Faniswa Yisa. Picture: Supplied.

Immigration remains a sensitive and complex issue across Africa, a continent often marked by conflict, poverty, and economic instability. Every year, countless individuals are forced to leave their home countries in search of better prospects, driven by the dire circumstances that threaten their livelihoods. 

As the southernmost tip of the continent, South Africa has emerged as a beacon of hope for many migrants, promising opportunities amidst an array of challenges.

In a groundbreaking production titled The Last Country currently being staged at the Market Theatre in Johannesburg, audiences are invited to walk in the shoes of four remarkable women—Ofra, MaThwala, Aamiina, and Aneni—who have journeyed from their respective homelands to start anew in South Africa’s bustling city of Durban.

Their stories, told through a series of poignant monologues, reflect the shared struggles and unique experiences that shape the immigrant narrative in South Africa. This medium of a series of monologues might be problematic for those preferring old-school stage acting as the only "usual" acting to take place happens when the characters are desperately looking for any form of transportation to flee theit countries and when they encounter unepleasant Home Affairs officials. Each woman's journey unveils the harsh realities of migration, underlining that the world remains a challenging place for women, even in their quest for independence and prosperity.

"This play contributes to a much larger conversation about migration, belonging, hope and resilience."

The Last Country is based on a collection of 30 oral histories of migrant women, including South African women who migrated from rural areas into the city, who recounted their journeys as part of the ‘Migration, Gender and the Inclusive City’ research project, led by Dr. Kira Erwin. Funded by the Cities Alliance, the project was carried out in Durban as a collaborative partnership between the Democracy Development Program, the African Solidarity Network, the Refugee Social Services and the Urban Futures Centre at the Durban University of Technology (DUT).

MaThwala’s story resonates deeply; forced to leave a polygamous marriage in rural Ndwedwe where her husband struggles to provide for both wives, she arrives in Durban seeking employment. Initially working as a domestic worker for an unpleasant family, MaThwala eventually discovers her passion for entrepreneurship, selling products on the streets of various townships until her knees do not agree with all that walking. She then settles on selling beadwork at the Southbeach. Her dream is to save enough to build a home in her rural village—an aspiration that fuels her resilience.

MaThwala's dream, just like that of millions of women in South Africa, is to dream is to save enough to build a home in her rural village. Picture: Supplied.

From Zimbabwe, Aneni faces the harsh reality of leaving her husband behind due to the country's crippling economic conditions. She finds herself living with six men in a cockroach-infested one-bedroom apartment by the Harbour in Durban, navigating culture shock and the difficulties of securing a job. Aneni also faces the bureaucratic challenges of securing a permit to settle—a hurdle that many migrants from Zimbabwe and beyond encounter in their fight for survival. Yet, driven by her ambition to obtain a corporate internship while pursuing her studies, Anina remains focused on her ultimate goal: reuniting with her husband and securing her PhD.

Ofra, hailing from the Democratic Republic of Congo, echoes the experiences of many displaced by civil strife. Leaving her children behind for a future she hopes to build in Durban, her journey is marred by the painful toll of separation and the void left in her heart. Trying to live life by eking a living through a spaza shop, Ofra finds herself in the line of fire as she competes against other migrants who also ply their trade in similar enterprises. 

Aamiina’s story complements the collective narrative as she escapes the violence of Somalia. She weaved her way from the Horn of Africa all the way past a handful of countries until she landed at the dead-end of earth and she had no more land to run to. South Africa becomes the last country where she can seek refuge. Struggling to make a living, she opens her own shop and embarks on a beauty course with aspirations to run a salon. In between a struggle to learn the local language, she faces significant challenges when her enterprise is pitted against those of other migrants. However, her determination exemplifies the resilience of immigrant women, who often set up shop in an effort to weave a new life from the fragments of their pasts.

Nompilo Maphumulo plays Aamiina in The Last Country, which is showing at The Market Theatre. Picture: Supplied.

This production is not merely an artistic expression but a call to South Africa to reevaluate its perception of immigrants, regardless of their legal status. Staging during Africa Monthly, a time of reflection and discourse surrounding xenophobia, the production prompts audiences to engage with uncomfortable narratives that have persisted for years. It seeks to foster a conversation about humanity, compassion, and the fundamental need for Ubuntu among South Africans and migrants alike.

In recent years, South Africa has struggled with its own migration crises, grappling with narratives of both exclusion and welcome. The presence of migrants in South Africa is a fraught politicla issue in a country with an unemployment rate more than 30% and a government that is struggling to provide basic services. As tensions rise, the need for understanding and empathy has never been more crucial. As the play invites viewers to reconsider their attitudes towards 'foreigners', it poses important questions: how can South Africans practice Ubuntu towards those who seek refuge and opportunity? How can we collectively address the hardships faced by immigrants while also pursuing justice and solidarity. 

The play is created by the award-winning Empatheatre team (known to Jo'burg audiences for the multi-award-winning 'Isidlamlilo/The Fire Eater'play). It is co-written by Neil Coppen and Mpume Mthombeni and directed by Neil Coppen.

Many migrants have to face the bureaucratic challenges of securing documentation to regularize their stay in South Africa, a prospect that is not always treated with dignity by local authorities. Picture: Supplied 

The Last Country came to Jo'burg for the first time this year as part of The Market Theatre's Africa Month programming. The Market Theatre is partly located in the heart of Johannesburg, a city that is home to many migrants. According to artistic director, Greg Homann, the play presented a unique opportunity to engage each other around issues of migration and what it takes for these women to make a new city their home.

Homann hailed The Last Country as  a groundbreaking research-based project.

"This play contributes to a much larger conversation about migration, belonging, hope and resilience. Again, it highlights policy limitations relating to migration in metropolitan areas and reminds us of the fundamental values that have shaped this beautiful nation," he said.

"The production forms part of our Africa Month curation at The Market Theatre and bringing it to Jo'burg is an attempt at interrogating myths and challenging harmful rhetoric surrounding immigrants and displaced people."

The Last Country is running at The Market Theatre from 15 May – 1 June 2025.

Tickets are available on Webtickets - https://www.webtickets.co.za/v2/event.aspx?itemid=1564448627, with all Wednesdays at half-price. Special discounts apply for preview performances and groups of four or more.