As terrifying as your new chapter may seem, it will be a worthwhile ride, filled with many highs and evolution.
Right now, you’re probably feeling a mixture of excitement, nerves, and maybe even a little fear. I get it—I was in your shoes not too long ago. When I started my first year in 2021 at Wits University, it was a strange time.
Coronavirus had turned the world upside down, and instead of walking into lecture halls buzzing with life, I logged into online classes from my bedroom. There was no campus orientation filled with loud cheers and free goodies, just emails and Microsoft teams links. It felt overwhelming, and the voices of my high school teachers echoed in my head: “In university, you’re all alone. No one will chase you or help you.”
For the first few weeks, it really did feel that way. There were no teachers reminding me about deadlines, no school bells signaling when to move to the next class. Just me, my laptop, and a flood of information that I had to figure out on my own. But here is the thing—they were only half right. Yes, university demands independence, but being alone? That part turned out to be a myth.
As soon as the Coronavirus restrictions were lifted, students were able to go onto campus. There are signs almost everywhere for specific buildings but sometimes I would still get lost, luckily campus control staff and other students walking around were more than happy to direct me to where I needed to be.
That is when I discovered the true meaning of community. I have never encountered a mean stranger on campus since my first year through to my final honours year. Friends and fellow students that I had met through the online lectures were eager to form study groups, and tutors were always available to provide guidance and support just as they were during the times we had to attend our classes remotely.
The campus itself was and still is a treasure trove of resources. The Counselling and Careers Development unit (CCDU) at Wits, became my go-to destination for guidance on academic and career choices. The libraries have a vast collection of books, journals and online resources that there was simply no way I would not have more than enough resources to complete any assignment given to me.
Wits University is renowned for its academic excellence, but it’s not all about hitting the books. The university’s campus is a hub of activity, offering students a diverse range of entertainment options.
From retail companies hosting raffles and giveaways, to radio stations scouting for talented students, and local artists performing, there’s always something happening on campus. These events always provided a welcome break from academic stress for me, allowing me to unwind.
One of the highlights of the university’s social calendar is the annul Fun Day held before exams. This day features inflatables, water slides, and other activities designed to help students relax, have fun and recharge.
Wits’ commitment to providing well rounded university experiences through offering students a mix of academic rigor and social activities is exactly how I found balance in all my four years at Wits. Feeling anxious about your first year is normal, but having to figure it out all on your own? That is a myth.
FEATURED IMAGE: Image of our famous motto, “Wits for Good”. Photo by: Katlego Mtshali
You just stepped off the high school train, here’s a guide that will help you choose an accommodation that best suits your needs.
Moving out of home can be stressful as the sudden onset of solo responsibilities begins however, it is less dreadful when you know your residence caters to most of, if not all your needs.
On-campus living
Wits University has campuses in and around Parktown and Braamfontein. Students can choose between on-campus residences or off-campus residences each with unique benefits and drawbacks.
The university offers free shuttle services whether you live off-campus or on-campus that transport students from their different residences in Parktown and Braamfontein.
These services operate between 06:30-00:00, meaning transport costs do not need to be budgeted for.
These accommodations vary on a scale of affordability starting from R67 160-R108 5676 annually, but they are all NSFAS accredited. Single and double rooms with meals included range between R89 326-R108 576 per student annually. These prices depend on whether you take all three meals daily or only one or two meals.
Although the meals are catered for, options for breakfast, lunch and dinner are limited. They are also catered for at specific times of the day therefore it would be ideal to store dry foods or snacks in case you miss the slots.
The upside of living on campus is that you can go to the Matrix to buy food, buy groceries or even access a bank. There are also wellness clinics that can be found on the Braamfontein campus and Wits Education campus. Consultation to see a general practitioner is R20 whereas if you are a Wits student living off-campus consultation is R50.
When there is load-shedding students are still able to study due to the back-up generators. Wi-Fi is accessible throughout the entire university and some libraries are open for 24-hours on both the Parktown and Braamfontein campuses.
On weekends (Saturday and Sunday) Wits busses transport students from the different campuses to Rosebank Mall between 08:00-17:00 for free.
Off-campus residences
A few off-campus accommodations are NSFAS accredited, namely: South Point 56 Jorissen, Apex, and Campus Central. However, with the accommodation cap introduced by NSFAS in 2023 of R50 000 per student, the full rental amount may not be covered.
The rooms at South Point 56 Jorissen range between R4930-R5870. It is a self-catering residence, allowing you to prepare your meals using the kitchen in your cluster. It is also within walking distance of essential shops in Braamfontein like Pick N Pay and Clicks, and only two minutes away from main campus. Study rooms and WiFi are available to tenants.
Apex student accommodation is a one-minute walk to the Braamfontein campus, with room rates between R4780-R7700. Back-up power enables students to cook and use computer labs during outages. Entertainment and wellness events are periodically hosted on-site. However, at Apex students must self-fund electricity top-ups once their monthly allocation is depleted.
Campus Central in Parktown, has rooms priced between R6300-R8200. Their facilities include study rooms, a gym, a laundry, and an outdoor soccer field. It is a self-catering residence with nearby fast-food restaurants. It is opposite the Wits Business School and a short walking distance from Wits Education campus where the Wits buses pick up and drop off students.
There is not a shopping centre near Campus Central that you can walk to, however you can use the Wits shuttle services to travel to Bramfontein where you can find a Food Lovers Market and Pick n Pay for more specific grocery items.
Living on your own straight out of high school is a major life transition, filled with excitement, independence, and new responsibilities. Finding the right accommodation can play a crucial role in ensuring a smooth adjustment to this new chapter. Whether you prioritize affordability, location, or amenities, taking the time to research and weigh your options will help you make the best choice for your lifestyle and budget.
FEATURED IMAGE: A photo of the reception at the Campus Central accommodation in Parktown. Photo by: Katlego Mtshali
Exploring the evolution of South Africa’s music copyright laws reveals significant shifts in creative rights for artists, particularly during the transition from apartheid to democracy.
The development of music copyright throughout South Africa’s democratic transition in the 1990s demonstrated how musicians battled for recognition and rights in the face of institutionalised persecution.
The Separate Amenities Act of 1953 posed a significant obstacle for renowned saxophonist Winston “Mankunku” Ngozi during South Africa’s apartheid era. Because of legislation that forbade mixed-race concerts, Ngozi had to perform with white musicians behind a curtain, thus keeping the audience from seeing him. In a degrading incident, he was forced to perform behind the curtain at a 1964 Cape Town City Hall show with an all-white big band, while a white impostor claimed to be the saxophonist on stage.
In addition to restricting Ngozi’s ability to express himself artistically, this discriminatory regulation kept him from receiving the proper credit and payment for his contributions. Despite the commercial success of his famous 1968 record Yakhal’ Inkomo, which documented the challenges of Black artists under apartheid, Ngozi did not receive much financial gain because copyright protection was not in place. Ngozi’s experience illustrates the systemic abuses that Black artists experienced: their rights disregarded and their artistic work exploited.
According to an article in The Funambulist, apartheid-era musicians faced severe restrictions. The Separate Amenities Act, coupled with the Group Areas Act and pass laws of the early 1950s, imposed stringent mobility constraints. To move freely, musicians needed a ‘day pass’ or ‘night pass’ and had to adhere to a mandatory 10pm curfew, referenced in the African Jazz Pioneers’ song Ten Ten Special. These interconnected laws stifled artistic collaboration, social cohesion and overall freedom.
Before the country gained its independence, Black artists in South Africa worked in a closed-off environment with almost no copyright protection, leaving them open to exploitation and receiving only small compensation for their artistic efforts. This harsh environment not only suppressed artistic expression, but also failed to give musicians the recognition they deserved for their contributions.
Contemporary resonance
The legacy of apartheid-era struggle music continues to resonate with contemporary artists. One of these is Johannesburg-based musician Ofentse Sebula, who attests to this enduring impact. “The legacy of the struggle music from the apartheid era plays a significant role in my music, as I too share the same sentiments,” he says. “The sentiments I share with apartheid-era musicians include resilience, cultural pride and a commitment to authentic emotional expression. Growing up in democratic South Africa, my music reflects on our nation’s complex past, its ongoing impact and the hopes for a unified future.”
Sebula emphasises that music from that era transcended mere entertainment: “It was a voice of the people, reflecting the times they lived in,” he says. Sebula’s own music may not be overtly political, but he acknowledges the importance of storytelling through song. “My music isn’t always in line with political issues as before [in] the apartheid era, but the goal is to tell my stories and remind people that we’re still going through the same battles.”
Meet Ofentse Sebula, a composer, creator and visionary. Photo: Supplied
Music promoting social justice and resistance was particularly targeted by the apartheid administration’s severe censorship laws. Politically charged songs that dealt with issues of injustice and inequality caused artists like Hugh Masekela, Miriam Makeba and Brenda Fassie to be targeted, censored and sometimes overtly mistreated by the apartheid government. For instance, Makeba’s song Pata Pata was banned from radio stations due to its alleged anti-apartheid sentiments, which restricted her ability to perform for a larger audience in South Africa.
Similarly, Fassie’s song I’m a Good Woman tackled themes of empowerment and defiance in the face of oppression, marking her as a voice for marginalised people. Although the song was not overtly political in comparison to some protest songs, Fassie’s bold expressions of resilience were interpreted as a challenge to the status quo. Radio stations banned her song Black President, which was a tribute to Nelson Mandela, for its anti-apartheid connotations. The government kept a close eye on Fassie’s activities, making it difficult for her to express herself freely.Masekela also suffered greatly because of his musical advocacy. His popular anti-apartheid protest song, Bring Him Back Home (Nelson Mandela), demanded the release of Mandela, who had been detained by the government since 1962. The song, composed and recorded during Masekela’s exile, rose to fame and became an unofficial anthem of the anti-apartheid struggle. The upbeat tune, with its strong chords and trumpet riffs, masked a pointed political statement that directly challenged the South African apartheid government. The fact that musicians jeopardised their freedom and careers to speak out against injustice underscores the complex relationship between politics and music.
Lack of legal protection
Musicians frequently found themselves in a vulnerable position during the apartheid era due to the lack of strong legal protections for their artistic creations. At the time, the Copyright Act of 1978 offered creators limited rights and failed to address the specific challenges faced by South African artists, particularly Black musicians. Although the act was meant to protect intellectual property, it operated within a framework that largely ignored the systemic inequities of the apartheid system.
A glaring example was the ‘Lion Trial’, involving the globally famous song The Lion Sleeps Tonight, originally written by Solomon Linda. Despite the song’s enormous financial success, Linda received little recognition or compensation, exposing the exploitative practices that thrived under the apartheid-era copyright regime. The law’s focus on formal, written agreements and legal representation left many black musicians – who often had limited access to legal resources – vulnerable to exploitation by record companies and intermediaries.
In addition, the harsh restrictions placed on artistic expression by the apartheid administration meant musicians were forced to communicate their discontent using subtle themes, risking further marginalisation. In the end, Black artists were not protected by the 1978 Copyright Act, which was meant to update South Africa’s copyright regulations. Significantly, the Act denied many Black artists the right to their previously created works, because it did not offer retroactive protection for works created before 1978.
Unfair ownership arrangements favoured record companies and publishers owned by white people, leaving Black musicians open to exploitation due to a lack of effective enforcement measures and restricted access to the legal system. Neither did the Act address cultural appropriation, through which white artists make money from traditional Black music without acknowledgment or payment.
These flaws led to the exploitation of Black artists’ creations, a loss of royalties and creative control, and relatively little acknowledgement. The shortcomings of the 1978 Copyright Act necessitated the revolutionary shifts that came with the emergence of a democratic society, in which the defence of artists’ rights and reform of copyright were top priorities.
Protecting artists’ rights
The democratic era has introduced stronger legal frameworks that protect intellectual property, enable artists to defend their rights, and promote a more egalitarian music industry. These advancements show the vital role copyright plays in sustaining musicians’ livelihoods and fostering innovation in South Africa’s diverse musical landscape
Sebula acknowledges the significant progress made in protecting artists’ rights. “I haven’t stumbled upon challenges when it comes to full control of my music and its ownership,” he says, recognising that this is largely due to the advancements made since apartheid. “I believe this is because post-apartheid South African artists have experienced increased autonomy in the production and ownership of their music, also thanks to organisations such as Samro [South African Music Rights Organisation] and Mpasa [Music Publishers Association of South Africa],” he says. Sebula’s experience highlights the transformative impact of democracy on the music industry, with artists now enjoying greater creative control and financial benefits.
Ofentse Sebula, bringing jazz to life, one note at a time. Photo: Ezra Selulu/Supplied
Record companies and the government organisations that had previously controlled the intellectual property and copyrights of many songs were overthrown, giving Black South African musicians more freedom to create and own their music when apartheid ended. The Copyright Amendment Act of 2019, which attempted to improve the protection of authors’ rights and remedy some of the injustices ingrained under apartheid laws, is a prime example of this change. In contrast to the 1978 Copyright Act, the new regulations improve intellectual property protections and support equitable compensations for artists.
Tsenolo Ntsane, operations manager at Mpasa and a renowned songwriter, underscores the vital significance of copyright protection for musicians. “Copyright is essential for safeguarding artists’ rights and ensuring they receive fair compensation for their work,” she emphasises.
As a champion of music, Ntsane, also known as Nolo Harmony, has navigated both the performance and regulatory sides of the industry. Her passion for music began in high school, when she developed a love for song writing. Ntsane licensed her songs at a young age and pursued music contract law in her studies.
She stresses the transformative power of copyright knowledge for musicians. “Understanding copyrights is the very thing that can help a musician create a profitable career and that’s why it is so important,” she says. This insight stems from her unique blend of artistic experience and regulatory expertise. At Mpasa, Ntsane seeks to contribute to the value of artists’ work. Through partnerships with stakeholders, Mpasa aims to safeguard musicians’ rights and foster a fair, profitable environment.
Artists who do not copyright their work face potential revenue loss, lack of recognition and exploitation, she says. Without protection, musicians risk losing ownership and control over their creations and how their music is used and distributed.
One song, two rights
“When somebody creates a song, two rights are born,” Ntsane says. “The first is the master right, which refers to the actual sound recording of the song. This right is controlled by either the artist or the record label and generates income through mechanical royalties.
“The second right is the publisher’s right, pertaining to the composition itself – the lyrics and melody. This right represents the individual creative work underlying the sound recording, earning performance royalties whenever the song is performed publicly, played on the radio, or used in a live setting.”
Ntsane emphasised that this knowledge is particularly crucial in South Africa, where historical injustices have left a lasting impact on the music industry. “During apartheid, many Black artists were disenfranchised and lacked understanding and access to these rights, often losing control and revenue from their creative work,” she says.
To address this legacy, Mpasa prioritises empowering its members through education. “We recognise the historical disparities and strive to bridge the knowledge gap,” Ntsane says. “Through regular webinar sessions and workshops, our members gain a deeper understanding of music copyright, mastering the intricacies of master and publisher rights to safeguard their creative and financial interests.” By fostering awareness and expertise, Mpasa aims to ensure South African artists, particularly those from historically marginalised groups, can protect their intellectual property, secure fair compensation, and build sustainable careers in the music industry.
“South African musicians need to adjust to the changing landscape of the music industry as streaming services and digital platforms do, all the while fighting for just recompense and the defence of their rights,” Ntsane says. “While post-democracy laws have made a great deal of progress, there are still many challenges in the way of long-term success, which means that attempts to empower artists and increase their visibility in a more competitive market must continue.”
South Africa’s musical journey reflects its complex history and vibrant democracy. Visionary artists like Ngozi, Masekela and Fassie defied apartheid’s censorship and exploitation. Today, Samro and Mpasa champion artists’ rights, allowing musicians like Sebula the freedom of not experiencing challenges when copyrighting their music.
The Copyright Amendment Act of 2019 has improved protection for authors’ rights, addressing historical injustices. As the music industry continues to evolve, Ntsane says Mpasa “will continue to prioritise education and empowerment, ensuring artists can protect their intellectual property and secure fair compensation.”
FEATURED IMAGE: Lost in the melody. Photo by: Katlego Mtshali
Although braiding is frequently thought of as a protective hairstyle for Black females, its importance goes well beyond aesthetics, it encompasses identity and resistance.
For thousands of years, African culture has been deeply rooted in the ancient art form of braiding. The elaborate designs and patterns are a visual depiction of community, identity, and spirituality that have been handed down through the ages.
Ancient Africans held braiding to be a highly esteemed art form, frequently practiced by elders and spiritual leaders. Braids were employed by several tribes as symbols of social standing, spirituality, and life events. For instance, the Yoruba tribe saved elaborate designs for kings and spiritual leaders, signifying power and distinction, while the Maasai people used braids to symbolise age, marital status, and spiritual development.
The Himba people also braided their hair with beads and cowry shells to symbolise their ancestry and the harmony of nature. Significant life events such as puberty, marriage, and maternity were commemorated by the Zulu tribe using unique braiding patterns. These many braiding customs had something in common, demonstrating the profound cultural and spiritual significance of braiding in African communities.
A picture of a student getting her hair braided at a salon in Braamfontein. Photo by: Katlego Mtshali
It is said in a Dope Black CIC article how Black slaves in the United States were subject to regulations on their hygiene and appearance during the time of enslavement. Nonetheless, hair braiding continued to exist as a means of cultural preservation and resistance. Women under slavery would braid each other’s hair in elaborate patterns and designs that not only honoured their culture but also provided a means of communication and escape for fugitives.
Hair braiding remained essential to Black cultures even after slavery. Black people started using braiding as a means of expressing their cultural past, reclaiming their identity, and defying Eurocentric beauty norms. Braids and other natural hairstyles became symbols of Black pride and a refusal to assimilate during the civil rights movement of the 1960s.
In South African schools and corporates, braids have sometimes a site of conflict. Recently at LD Moetanalo High School in Mhluzi, a teacher was suspended for forcibly cutting a student’s braids off in class. While the incident at LD Moetanalo High School is still being investigated, it underscores the ongoing need for schools to foster cultural inclusivity and acceptance, ensuring that students’ cultural expressions, including traditional hairstyles like braids, are valued and respected
For Takalani Netshiavha, a third year LLB student at Wits,” braiding has become a part of my identity as a black woman. When I braid it improves my confidence and self-esteem immensely because I feel more beautiful.”
Anne Tsheshe, a Cameroonian braider in South Africa, finds joy in creating a special bond with her clients, understanding their hair textures and needs. Her favourite part of braiding is “When a young Black girl’s face lights up with uncontainable excitement and joy, beholding the magic my skilled hands have created.”
Braiding has become a lucrative venture for many Black women in South Africa, extending beyond formal salons. Informal braiding services on street corners and markets have created income opportunities and has empowered women while fueling a thriving industry that balances cultural preservation with economic gain.
Even for those who move overseas from Africa, finding a salon where their hair can be braided is essential. Sharon Nawaya said to Wits Vuvuzela: “My move to Texas from South Africa was first daunting because I struggled to find a salon that caters to the texture of my hair and find someone who could do my knotless braids but eventually, I found a salon that caters to African hairstyles.”
Cornrows braided with care, worn with confidence. Photo by: Katlego Mtshali
For some, braiding is an art and skill worth passing on. “Braiding will always be an integral part of me. When I have a daughter, I will pass on the skill to her, requiring a tender touch and understanding of her hair texture that I have acquired over the years.” says Lesedi Mashinini.
Sisterhood and community bonds are forged and strengthened during the braiding session. Ikageng Molokomme an honours student studying Marketing told Wits Vuvuzela that she views braiding as” a symbol of sisterhood and community. When we braid each other’s hair, we’re not just styling braids we are strengthening bonds and creating memories. “
Designers have been using braids in runway shows and collections, which can be seen in the following Vogue article, and they have been a mainstay in the fashion world in recent years. In the fashion industry, diversity and inclusivity have been aided by this embrace of culture. But it is crucial to recognise the cultural value of braiding and to inform people about its background and significance.
It is imperative that the cultural legacy of braiding be preserved and transmitted to the next generation as we move forward. A few methods to guarantee the art form’s survival are workshops, classes, and online tutorials.
Thus, despite the misunderstanding sometimes, braiding is a sign of solidarity, identity, and cultural legacy for Black women and goes beyond just a hairdo. For millennia, it has served as a tool for self-expression, resistance, and fostering community. It is crucial to recognise and honour the significance of braiding in Black culture as we continue to negotiate the complexity of modern life. By doing this, we can encourage more tolerance, variety, and understanding, preserving braids as a potent representation of Black pride and unification.
FEATURED IMAGE: Female getting braided in the heart of Braamfontein. Photo by: Katlego Mtshali
This National Hair Loss Awareness Month we spotlight Alopecia – its causes, symptoms and treatments.
August is National Hair Loss Awareness Month, which aims to shine a light on Alopecia’s emotional toll and innovative treatments, sparking hope for those affected.
Alopecia comes in a variety of forms, such as: Alopecia Areata, which manifests as sporadic hair loss on the body or scalp; Alopecia Totalis, which is the total loss of hair on the scalp; thirdly, body hair loss is a sign of Alopecia Universalis and Alopecia Barbae that usually results in facial hair loss such as the beard.
According to the National Center for Biotechnology alopecia is brought on by a combination of hormonal, autoimmune, and genetic variables. In particular:
Alopecia runs in the family in 1 out of 5 instances (1:5), suggesting a strong hereditary component.
One factor contributing to alopecia is autoimmune disorders, in which the immune system unintentionally targets hair follicles.
In one out of every ten instances, hormonal imbalances—especially thyroid disorders—are the cause (1:10) In one in eight cases, alopecia can be brought on by stress, both mental and physical (1:8)
Alopecia can result from taking certain medications, including as those for cancer, high blood pressure, and depression, in 1 in 20 cases (1:20) Alopecia symptoms include brittle or fragile hair, bald patches that may enlarge or merge, redness and irritation in the afflicted regions, and hair loss or thinning, which frequently begins with small patches.
GRAPHIC: Alopecia by the numbers, understanding its impact
Sizakele Mashinini’s life took an unexpected turn in 2003, when she welcomed her second child into the world. Two years later, she began to notice a disturbing change – her hair had stopped growing, and the shedding wouldn’t cease. It was then that she discovered she had central centrifugal cicatricial alopecia, a diagnosis that would alter her life forever.
For 18 years, Mashinini has navigated the challenges of permanent hair loss, which typically begins in the central crown of the scalp. As she reflected on her journey with Wits Vuvuzela, Mashinini opened up about the profound impact it has had on her sense of self.
“Alopecia has taught me that we’re different people suffering from different ‘illnesses,’ however, it is one condition that truly affects your self-esteem and confidence.” she said.
Alopecia is treated with medications like minoxidil (Rogaine), which promotes hair growth and decreases hair loss, corticosteroids, which often lower inflammation and encourage growth, and finasteride (Propecia), which delays hair loss and increases growth. Moreover, there are treatments like Platelet-rich Plasma (PRP) Therapy, which uses platelet-rich plasma to encourage growth, and Low-Level Laser Therapy (LLLT), which stimulates hair growth.
Mashinini said: “For me, beauty standards don’t define me. I have discovered strategies to see past my flaws. I am aware that someone with a strong will is required. I have come to appreciate the aspects of myself that make me feel more like myself and have accepted the fact that wigs and other cosmetic alternatives exist to help us “belong.”
In this way she’s found confidence in having no hair and no longer feels pressured to conform to traditional beauty standards. Mashinini highlights the value of kindness, education, and dispelling stigmas as we promote awareness during National Hair Loss Awareness Month. “My message to others is to be kind to someone who has alopecia; it can happen to you or anyone, regardless of colour, age, or creed.”
FEATURED IMAGE: A close-up shot of a woman’s scalp, showing patches of hair loss due to alopecia. Photo by: Stock images.
People remember how you treat them, not what you do – a lesson for government clinic nurses, where kindness can be the best medicine.
Despite the progress made in reproductive healthcare, including the increase in public facilities offering abortion services, South Africa still grapples with a significant illegal sector. One in four women resort to unsafe abortions, putting women’s lives at risk.
Further, one in four aged 15-49 across all nine provinces faces unmet contraceptive needs, highlighting a critical gap in access to essential services.
These and other issues around reproductive health were on the agenda at ‘The Story of all Women’, a Women’s Month event hosted by Wits University’s SRC President, Bukisa Boniswa on August 2. Talking through the secrecy and stigma was at the heart of the discussion.
The event brought together a diverse panel of experts, including Khanyisa Booi, founder of Eve Apple Magazine, Dr.Mpume Zende, an OB-Gynae-Sexologist, Ennie Makhafola, women’s health activist, and Dr.Busisiwe Nkala-Dlamini, a senior lecturer at the University of Witwatersrand Department of social work.
Booi asked the audience about their experiences seeking contraception at public clinics. Almost half of the room raised their hands, sharing a collective nod of familiarity and discomfort, as they recounted stories of feeling judged by nurses.
Dr. Zende shared her experiences at Baragwanath Hospital, where women face belittling and neglect from nurses. In contrast to private hospitals, government clinics often lack effective contraceptives, leaving women with limited options and severe side effects, highlighting a stark disparity in care.
While Dr.Nkala reminded the audience of the history of access. During Apartheid young black women did not have the right to terminate pregnancies, until The Choice on Termination of Pregnancy Act of 1996 was passed. She also noted that in many African homes, conversations about reproductive health are uncomfortable or sugarcoated, leading to confusion and ignorance.
The evening underscored the need for greater access and safe spaces where women can seek help without judgment. In the scenario where women find themselves uncomfortable to speak to nurses at their local clinics, they can call confidential hotlines and helplines for reproductive health and rights information such as Marie Stopes South Africa’s 24-hour helpline (0800 11 77 85) or the National Department of Health’s Reproductive Health Helpline (0800 601 700).
Nurses and healthcare providers must be trained to provide compassionate and non-judgmental healthcare. Additionally, access to comprehensive reproductive healthcare, including contraception and termination services, must be prioritised.
FEATURED IMAGE: An Image of contraceptives being handed over from one hand to another. Photo: Stock image
Education eliminates stigma, and can also improve the quality of life of those affected.
Polycystic Ovary Syndrome (PCOS) and Endometriosis are two common yet often misunderstood women’s health conditions. In South Africa, the latter affects one in 10 women of reproductive age, and the former one in five women of reproductive age.
As an honours student in journalism, when navigating the challenges of upholding academic rigour and minimising self-doubt, I battle with myself.
Usually when I sit in my journalism lectures, surrounded by talented peers and esteemed professors, I often hear a nagging voice: You do not belong here. It’s a feeling that’s all too familiar: imposter syndrome. The feeling that I am just pretending, and everyone will soon discover my inadequacy.
Imposter syndrome is a phenomenon where individuals doubt their own abilities, despite evidence of their competence. In my own experience, I’ve seen talented students question their own intelligence and capabilities, attributing their achievements to sheer luck or circumstance; rather than their own hard work and dedication.
A study published in the Journal of Student Researchfound that imposter syndrome is a significant predictor of academic anxiety and depression among young graduates.
Personally, I have been guilty of downplaying my own achievements, including my decision to pursue my honours in Journalism. I have often made jokes to my friends that I am only here by some miracle, or that I am just winging it and hoping for the best.
However, the truth is, I have worked incredibly hard to be here, and I have earned my place in this programme. I started to realise that it is time for me to own that; and recognise my achievements are not a result of circumstance, but of my own dedication and perseverance.
I’ve been so hard on myself; but hearing how my close friends and family are proud of me, has helped me to start celebrating my own accomplishments.
As I navigate my own struggles with imposter syndrome, I’ve learned to not take my inner voice too seriously. When self-doubt creeps in, I reflect on my accomplishments — like completing a challenging assignment or receiving positive feedback from a lecturer. By focusing on my strengths and reframing my mindset, I’m building confidence in my abilities and overcoming the grip of imposter syndrome.
I also try not to dwell too much on my mistakes by recoginsing that perusing this degree has offered me the opportunity to learn; while I get to focus on my passion of telling stories. This has helped me to see failure as an opportunity for growth. When I receive constructive criticism or face setbacks, I use it as a chance to learn and improve.
Also, surrounding myself with a supporting community has helped because they see me behind my current struggles. I believe by acknowledging and challenging our own imposter syndrome, we can begin to break down the barriers that hold us back from achieving our full potential, and we can learn to embrace our success. And as we do, we will find that we are more confident, more resilient, and more empowered to make a meaningful impact in the world around us.
My journey to setting boundaries began with a simple realisation: I was suffocating under the weight of others’ expectations. Now I know it’s the most radical act of self-love one will ever commit.
As I navigate the complexities of life, I have come to realize that setting boundaries is not just a necessity, but a superpower. Being intentional about my time, energy, and relationships has improved my well-being.
Setting boundaries is not selfish, but essential for our survival. A study published in the Journal of Social and Clinical Psychology found that people who set boundaries, and prioritise self-care have higher self-esteem and better mental health. By taking care of ourselves, we can show up more fully and be more present in our relationships and lives.
Spiritual boundaries include being mindful of the company I keep and the beliefs with which I engage with, which are Christian beliefs. As Emmanuel James Rohn once said, “You are the average of the five people you spend the most time with.”
Engaging with like-minded communities has also provided a supportive environment where I can share my thoughts, learn from others, and deepen my understanding of my faith. This has ultimately strengthened my relationship with God and myself, enabling me to navigate life’s challenges with greater clarity and purpose.
Academically, setting boundaries means dedicating time to my studies and prioritizing my education. As Mpoomy Ledwaba an international speaker and founder of Wisdom & Wellness once said, “Discipline is the bridge between goals and accomplishment.” For me, this means setting aside dedicated time for studying and avoiding distractions.
I allocate specific hours each day for studying, ensuring I minimise social media and phone usage during that time, I also create a conducive study environment by using a quiet and organised study space.
My friends joke that my brand and personality have become “Miss Journalist”, because I have become so locked in and it occupies my mind most of the time. Whilst it is true that I am currently struggling to find the balance between a social life and my studies, I can maintain a sense of accomplishment and take pride in my academic journey.
Much like a gardener tends to their garden, nurturing the soil and pruning the weeds to allow the flowers to bloom, one can tend to a person or situation with similar care and attention, to ensure growth.
Financial boundaries include being disciplined and avoiding activities that would stretch one too thin. It is essential to create a budget and stick to it, while avoiding impulsive purchases.
But let’s be real, I struggle with this one the most. Who can resist the aroma of freshly brewed coffee and the glazed baked treats on display in a coffee shop? Certainly not me, every day I have to fight against my senses when I walk into the Es’kia Mpahlele building, which has a Vida e Cafe at its entrance. Their Strawberry Supresa smoothie, banana loaf, and spicy chicken mayo are to die for.
But in all seriousness, it’s a work in progress and I am trying to be more mindful of my spending habits. Maybe I will be able to resist the temptation of that coffee shop…but no promises!
Lastly, the most important boundaries are the ones I set in my relationships. As Jerry Flowers, a motivational speaker and priest for the Time of Celebration Ministries Church says “Boundaries are not meant to keep people out, but to keep yourself in.”
It is all easier said than done, and life is a continuous process of self-reflection, growth, and improvement. You cannot pour from an empty cup, so you need to take care of yourself first, boundaries are the tool that makes that possible.
Despite contingency measures, the electricity crisis persists, leaving some students hungry, and desperate.
Hundreds of students, primarily those living off campus have had a tough week without consistent access to electricity. The Wits Students Law Council stepped in to help those who have been going to bed and class hungry on Tuesday, May 8.
A note to students reads: “Parcels limited, law students priority” on a door in the Olive Schreiner building. A harsh reality check as resources are stretched thin amidst the ongoing electricity crisis. Photo: Katlego Mtshali
Between 08:00 and 10:00 in the Oliver Schreiner building, council members handed out grocery hampers containing non-perishable food items. Muhammed Takolia, a Community Development subcommittee member, reached out to Ashraful Aid to make the initiative possible.
Ntiyiso Chauke, a second-year LLB student, said: “I can no longer afford to rely on takeaways as a daily solution, as it is financially straining.”
Salim Nkosi, an Honours in Journalism student said that he has exceeded his usual expenses, “I’ve used R900 in 6 days, which is normally what I would spend in two weeks.”
First-year Bachelor of Accounting student,Sandile Gumede, said while grateful for the food, preparing it will prove difficult. The generator in his residence building is currently only operational between 08:00 and 10:00, which is when he plans to prepare his meals as he must also ensure his attendance at his morning classes. Having to make a choice between cold food and his attendance record.
During the handover, Wits Vuvuzela watched as some students had to be turned away. Katleho Ledibone, a third-year LLB student and Social Outreach and Community Development officer, explained that the council had prioritised law students, but would help students living off campus if they had leftovers or received more donations.
One of the students who had to leave was Tshepo Mathonsi who said, “It has been difficult, and I am disappointed I could not get a grocery hamper.”
Paballo Sethathi, a third-year LLB student said he has been borrowing money to get by and has fallen behind with his studies. “Libraries are full because so many of us are affected… some close early therefore I cannot work for as long as I want.” He added that all his textbooks are in PDF format, so he needs his electronic devices to be fully charged to read.
First-year Arts and Performance students Londeka Ndwandwe and Sylvia Sotomela said that while South Africans are accustomed to loadshedding, “we cannot normalize being in the dark for days…it should also be considered that we come from different homes/backgrounds our parents cannot give us money for food every day now that our groceries are spoilt.”
The Wits Senior Executive Team acknowledged the impact of the electricity crisis on students, particularly those in off-campus residences like Noswall Hall, and various South Point buildings, and is working to provide support through the Division of Student Affairs and accredited service providers. Additionally, the Wits Citizenship and Community Outreach Unit is offering extra meals and food assistance to students in need.
“We are in contact with the relevant utilities, departments, and we are hopeful that power will be restored fully in the next day or two,” the university said in a statement.
The Wits Students Law Council has promised to organise more hampers and has asked students to remain patient and be on the lookout for announcements regarding future distributions.
FEATURED IMAGE: Students affected by the power outage clutch essential grocery parcels on May 8, 2024, a beacon of hope in time of need. Photo : Katlego Mtshali
The power is still out for many, some Witsies have taken to the streets with demands in tow.
Braamfontein residents and Wits University students who live off campus, woke up to another day with no electricity on May 6, 2024. After days of not eating, showering and studying students are demanding reprieve.
Led by the Wits SRC, a group blocked traffic and stopped inter-campus buses on Jorissen Street in Braamfontein, proclaiming “if we aren’t comfortable, no one should be”. The outage follows a fire at the Fordsburg substation last week.
No power, no shopping ,Ackermans loses out on making any sales this week due to electricity crisis. Photo: Katlego Mtshali
Their immediate demands call for the all-academic programmes (including the postponement of tests and assignments), water and food provision.
Speaking to Wits Vuvuzela, a frustrated BA third-year student, Felicity Makalima said: “Where is the next meal coming from? Yes, efforts are being made by different student councils at Wits, but it still falls short. More than 500 students are affected and need to eat at least three times a day.”
Over the weekend the Wits Citizenship and Community Outreach (WCCO) and SRC worked together to secure food and tutorial rooms for studying purposes.
Takalani Netshiavha a third-year LLB student highlighted the impact on academic attendance. “There’s a sub-minimum rule of attendance, and now we won’t be able to write tests because we could not show up to class. It’s not our fault that Braamfontein has no power,” she said.
Students in Wits residences have had intermittent but steady electricity supply thanks to back-up generators.
Safety has also been raised as students are forced to study till late on campus then walk back to their residences in the dark streets of Braamfontein.
In a short statement, the Mechanical Industrial and Aeronautical Engineering and School of Computer Science and Applied Mathematics (CSAM) Student Councils say they have been engaging with the school administration, seeking a two-week postponement of assessments. Citing limited data for those off campus in particular. Wits still makes access to data available to qualifying students, but the SRC says this is not enough considering the current situation.
While some students were able to go to friends and family over the weekend to escape the crisis, many do not have that luxury. A fair few are from other provinces or simply cannot afford to. Added to this, some are anxious about falling behind academically.
The ongoing crisis has also affected retail shops in Braamfontein, with staff sitting outside closed storefronts at Ackermans, PEP, FNB, and McDonald’s on Monday afternoon.
FEATURED IMAGE: Wits SRC leaders spearhead a resolute protest on through Braamfontein, demanding urgent action to address the student electricity crisis. Photo: Katlego Mtshali
The true meaning of Worker’s Day goes beyond the public holiday.
As the sun rises over Johannesburg, the morning rush hour begins in earnest. Cars, taxis, and buses fill the roads, and pedestrians hurry to get to work on time. In the chaos, drivers often forget about the rules of the road.
Amidst this hustle and bustle, it is easy to overlook the privilege and ability an individual has to go to work based on their skills and qualifications, not their skin colour or gender.
On Worker’s Day, May 1, we remember the struggles of those who fought for us as South Africans, and others across the world, to work in inclusive, merit-based spaces,
As a student pursuing a career in journalism, I find it important to remember the tireless struggles of workers who fought for fair labour practices, equal rights, and social justice in the workplace.
I am filled with gratitude for pioneers like Emma Mashinini, former trade unionist and political activist, who became active within the African National Congress in 1956 and later founded the South African Commercial, Catering and Allied Workers Union. Or Jay Naidoo, the founding general secretary of the Congress of South African Trade unions, who spearheaded the 1950s worker’s strikes, demanding fair wages, better working conditions, and an end to discrimination.
While Worker’s Day commemorates the struggles and celebrated triumphs of the labour movement, it is a sad irony that many South Africans find themselves outside of the formal workforce. According to the latest data from Statistics South Africa’s Quarterly Labour Force Survey, approximately 1 in every 3 people in South Africa are unemployed, as the unemployment rate stands at 32,1%.
A sketch showing that skills and qualifications know no race or gender. Drawing: Katlego Mtshali
Despite the progress made in securing fair labour and equal opportunities, the reality is that South Africans face significant barriers to entering the workforce, including the lack of education, skills, and access to resources and networks.
As someone who hopes to enter the journalism workforce soon, I fear that my qualifications and skills may not be compensated with a fair salary, that my voice may not be heard, and ultimately, that my contributions may not matter.
Moreover, the journalism field comes with its own set of hurdles such as intimidation, lack of resources and the pursuit of truth in a rapidly changing media landscape.
That is why I have also started a side hustle as a makeup artist- because jobs are not guaranteed, and I want to be prepared. This also means I have to juggle both my schoolwork and longer hours of work if I have more than one client in a day, on weekends.
However, I am also excited about the future of work in South Africa. Our generation has the power to push boundaries, challenge the status quo, and advocate for a better tomorrow. During the #RhodesMustFall and #FeesMustFall protests, our generation proved to be like the generations that fought our collective freedom before democracy, they stood up against injustices and fought for equal rights, access to education and economic opportunities.
This Worker’s Day, I honour the past, celebrate the present, and eagerly anticipate the future-a future built on the foundations of solidarity, equality, and justice for all. I am proud to be part of a generation that will continue to shape the future of work in South Africa, and I am committed to using my skills and experience to make a positive impact.
South Africa has invested over R60 billion in its transport infrastructure over the last 30 years! While you can certainly see some of that investment, major modes of transport are just not keeping up with how urbanised Johannesburg and its surrounding areas are becoming. Here on The Next Stop, I am joined by Olga Mashilo […]
