Radio has always been more than a medium for education, information, and entertainment. In South Africa, it has shaped identity, resisted silence, and even driven development. It is this unique intersection that inspires the term radiocracy—a blend of radio, democracy, and development.
At a recent UKZN Durban Alumni Association gathering, UKZN alumnus Advocate Robin Sewlal reflected on his lifelong passion for radio, his legal background, and his belief in the enduring importance of accuracy, integrity, and literacy in broadcasting.
Sewlal’s journey began as a law student, where his legal studies intersected with his love for media. His career eventually brought him to DOME Music Radio, a project that cemented his passion for the medium. “Radio has always been my love,” he explained. “It’s not just about speaking—it’s about storytelling, responsibility, and connection.”
Central to Sewlal’s message is the conviction that radio must be accurate and balanced. “Facts are sacred, opinions are free,” he reminded his audience. Unlike platforms where misinformation spreads unchecked, radio demands clarity, balance, and credibility. For him, integrity comes from the broadcaster—inside out—while credibility is bestowed by the listener, outside in. Together, these values explain radio’s extraordinary longevity
Radio’s resilience lies in its ability to evolve with the times. Sewlal pointed to 702, which transformed from a music station into a talk powerhouse in 1988. “Stan Katz, who pioneered talk radio, admitted he didn’t know what he was doing. But it worked—and it changed the industry.” Beyond technology, radio adapts through programming styles, personalities, and storytelling methods. It remains deeply connected to other media forms, complementing print, television, and digital platforms. “Radio comes from print,” Sewlal noted, tracing its roots back to the written word in plays, advertisements, and stories. Its cinematic quality, “painting pictures in the mind, is what makes it so compelling.
Sewlal’s belief in radio as a driver of development is embodied in his Press for Literacy project. “The more you read, the better you speak, the better you communicate, the better you write, and the better you listen,” he explained. Radio, he believes, can anchor a national movement to strengthen literacy and empower citizens.
South Africa’s radio history stretches back to 18 December 1923, when the railways launched the first broadcast in Johannesburg. Cape Town followed on 14 September 1924, and Durban on 19 December 1924. Fittingly, the first voice heard on radio was a woman’s voice a symbolic moment in the history of communication. From its earliest days, international content dominated, with programs from the UK, USA, and Australia. Over time, Afrikaans programming developed alongside English, reshaping the cultural landscape
In 1950, Springbok Radio became South Africa’s first commercial station, filling homes with serialized dramas and comedies like Squad Cars, Men from the Ministry, and 10 o’clock Tales. These shows showcased radio’s unique magic: imagination. Later, stations such as Capital Radio, Radio 702, and Radio 604 emerged, exploiting loopholes in apartheid broadcasting laws. They brought fresh voices and perspectives, challenging the state’s monopoly and paving the way for greater diversity.
For Sewlal, the future of radio rests on three pillars: accuracy, integrity, and literacy. Radio’s ability to educate, inform, and entertain remains vital, but its greatest power lies in fostering democracy and development. “Radio forces you to be clear, balanced, and accurate. That’s why it remains so powerful, so appealing, and so trusted,” he concluded. A century on, South African radio continues to adapt, inspire, and unite—true to the spirit of radiocracy.
Attendees thoroughly enjoyed the talk, which sparked a lively question-and-answer session. The evening ended on a high note with refreshments and networking. This event was part of an ongoing series proudly presented the UKZN Durban Alumni Association.
Words: Ayabulela Mbhele
Photography: Albert Hirasen
