From restoring bridges to brightening streets, Jozi My Jozi is bringing new life to the heart of Johannesburg—one project at a time.
Founded in 2023 with Wits University as one of the founding partners, Jozi My Jozi is a non-profit dedicated to revitalizing Johannesburg’s inner city through safety, education, arts, and economic development.
Jozi My Jozi is dedicated to bringing together individuals from all walks of life in order to improve Johannesburg’s inner city. The organisation is passionate about the city’s renaissance, and seeks to raise pride, inspire optimism, and establish a citizen-led movement based on constitutional principles. Jozi My Jozi enables communities to create sustainable solutions that improve safety, foster growth, and create a more resilient and livelier Johannesburg through cooperation and creativity.
Jozi My Jozi has spearheaded several impactful projects across Johannesburg, working closely with government, businesses, and local communities.
One standout initiative was the cleanup around Ellis Park ahead of a rugby match in August 2023. “We worked with the City of Johannesburg, businesses, and precinct managers to clean up the area,” said Communications Manager Innocent Mabusela.
clean up that happened ahead of the August rugby match 2023 at the Ellis Park stadium.
He added that they also partnered with PSA to improve public transport access to the stadium. Another key project was restoring Nelson Mandela Bridge, a high-traffic route used by Wits students and staff. “The bridge had broken glass and was covered in graffiti—we fixed it, cleaned it, and lit it up,” Mabusela said, noting increased usage since the improvements.
solar panels that were installed by the Nelson Mandela bridge
Jozi My Jozi has also installed over 650 solar-powered streetlights to combat cable theft and improve safety. “This year, we are continuing the project, focusing on walkable routes heavily used by pedestrians,” he said, emphasising the initiative’s role in making the city safer.
lights that help locals on the road and those walking across the Nelson Mandela bridge see better at night to avoid getting mugged.
Education plays a vital role in Jozi My Jozi’s mission to revitalize Johannesburg’s inner city. Speaking to Wits Vuvuzela, Mabusela shared that Anglo American has donated a building in Marshalltown to Wits University. “Wits Business School will now have students and lecturers using this space for their lectures,” Mabusela said. He added that this initiative will have a meaningful impact on the area. “It will really add value by bringing more activity and opportunities into the inner city,” he said.
A key part of this movement is student involvement, and Jozi My Jozi is actively working to expand its student chapter. When asked if there are any research, internship, or volunteering opportunities for Wits students—given that Wits is a partner of the organization—Mabusela shared that Jozi My Jozi is increasing efforts to engage students. “This year, we’ve actually been increasing momentum in terms of the establishment of our student chapter,” he revealed.
He explained that students from both the University of Johannesburg and Wits are being encouraged to take part, especially since many of them live and study in the inner city. “We believe that we’d want them to be the ones who are really going to drive the sustainability of the projects that we implement,” he said, emphasising that these young leaders will play a crucial role in shaping the city’s future.
Jozi My Jozi is offering students various ways to get involved, from volunteering in community cleanups to using their academic skills in real-world projects. “We need them to come on board and become part of our volunteers,” Mabusela said, highlighting the importance of student participation in bi-weekly cleanups.
Beyond that, he encouraged students to contribute their expertise. “Students have skills, and it is quite important that those who are studying, whichever degree, and they think that those skills that they have, they can actually come to use,” he added. By involving students now, Jozi My Jozi aims to create a generation that will carry its mission forward in the years to come.
Funding is essential for Jozi My Jozi, but the organization secures support based on specific projects rather than general donations. “We go to our funders with a project proposal, its cost, and required work,” he said. Funders then choose to fully or partially support it. “We don’t ask for money—we secure funding based on the projects we implement,” Mabusela said.
Jozi My Jozi’s efforts demonstrate the power of collaboration in transforming Johannesburg’s inner city. Through projects that enhance safety, infrastructure, and public spaces, the organization is creating a more livable and vibrant environment for residents, students, and businesses alike.
FEATURED IMAGE: Jozi my Jozi members doing a cleanup by Park station where commuters usually walk. Photo by. Jozi my Jozi
On March 21, 2025, the Apartheid Museum opened its doors for free entry in commemoration of Human Rights Day
Locals of all ages, from young children to elderly citizens, gathered to engage with South Africa’s painful yet crucial past. The museum, known for its striking exhibitions, provided visitors with an immersive experience, offering a deeper understanding of the injustices of apartheid and the resilience of those who fought against it.
Turnstiles at the entrance of the Apartheid Museum. Photo by: Katlego Mtshali
The journey began at the entrance, where visitors encountered turnstiles labeled “White” and “Non-White,” a stark reminder of the segregation that once dictated every aspect of daily life. Displayed near these turnstiles were identity documents of different racial groups.
These passes, which Black South Africans were forced to carry at all times, symbolised the state’s control over their movements. The stark contrast between the well-kept, structured passes of white citizens and the worn, often tattered documents of non-white individuals illustrated the systemic inequalities built into apartheid’s very foundation.
Videos played historical footage of the Sharpeville Massacre, an event that led to the establishment of Human Rights Day. The walls carried the stories of activists who risked their lives to dismantle an oppressive system. While audio recordings of protest songs filled the air, transporting visitors back to a time when music served as both an act of defiance and a source of hope.
“A world mourns, an honour to Nelson Mandela.” Photo by. Katlego Mtshali
A section dedicated to Nelson Mandela’s journey to freedom reminded visitors of the long and arduous struggle for democracy.
A displayed picture in the museum of prisoners stripped naked as they prepared themselves to get sprayed with cold water. Photo by. Katlego MtshaliAn image of young children protesting against Bantu education which was deemed one of the evillest acts of Apartheid. The system was designed to provide black students with inferior education and prepare them for labour, as opposed to the quality education offered to white learners. Photo by. Katlego Mtshali
On a day meant to honour human rights, the museum experience was a poignant reminder of why remembering apartheid is essential. Understanding history ensures that such injustices are never repeated. The museum did not only educate but also inspired reflection on the progress South Africa has made—and the challenges that still remain.
As visitors exited, they carried with them more than just memories of exhibits and photographs; they left with a renewed sense of responsibility—to uphold human dignity, to fight against discrimination, and to ensure that the lessons of the past shape a more just future.
FEATURE IMAGE: Photo exhibited in museum from Mayibuye Archives. The SANNC (later the ANC) members who went to London to protest against the Land Act of 1913. It consisted of (left to right) Thomas Mapikela, Rev Walter Rubusana, Rev John Dube, Saul Msane and Solomon T. Plaatjie. Photo by. Katlego Mtshali.
To meet persistent service delivery needs, the government has proposed a VAT increase of 1% over two years, raising the rate to 16% by 2026/27.
Finance Minister Enoch Gondongwana finally delivered the 2025 Budget speech on March 12, after a shock cancellation in February. The approval process will follow, with Parliament set to review, debate, and vote on the proposal.
While much of the public debate has focused on the proposed VAT increase, Gondongwana said “the central issue is fostering economic growth for the majority. Over the past decade, South Africa’s economy has stagnated, with GDP growth averaging under two percent”.
To achieve the country’s goals of redistribution and structural transformation, a faster, more inclusive economy is essential.
The 2025 budget outlines a strategy centered on “macroeconomic stability, structural reforms, infrastructure investment, and improving state capability to unlock the country’s productive capacity,” said Gondongwana.
With fiscal stability in focus, the budget also targets reducing debt-service costs and addressing critical issues like Eskom’s debt. Stabilising the economy, enhancing job creation, and advancing social services, are all at the top of the list.
Infrastructure remains a key focus in the 2025 Budget, with over R1 trillion allocated to capital spending over the next three years. Key areas of investment include R402 billion for transport, R219.2 billion for energy, and R156.3 billion for water and sanitation.
Projects such as upgrading roads, rebuilding the Passenger Rail Agency of South Africa’s infrastructure, and expanding water systems are central to driving economic growth, creating jobs, and improving public services. Public-private partnerships and innovative financing, including an infrastructure bond and credit guarantee vehicle, will further support these efforts.
Godongwana said the VAT increase could help meet persistent service delivery needs. It is expected to generate R28 billion in 2025/26 and R14.5 billion in 2026/27. After weighing alternatives like increasing corporate or personal income taxes, the VAT increase was deemed the most viable option to avoid further spending cuts and ensure essential services continue.
In social security, R284.7 billion is allocated to grants, with increases for the elderly, disabled, and child support. The COVID-19 Social Relief of Distress (SRD) grant will continue until March 2026, with 28 million beneficiaries set to benefit.
The South African Revenue Service (SARS) receives R3.5 billion this year and an additional R4 billion for improved tax collection. Efforts to broaden the tax base and improve compliance will help fund essential government services.
For early childhood development and education, the government allocates R10 billion to increase subsidies and expand access to early education for 700,000 more children. This investment supports the foundation for a better future workforce.
In addition to these measures, funding is set aside for critical health and security services, including a R28.9 billion boost to healthcare to retain workers and ensure adequate staffing in hospitals.
But none of these measures can be implemented without a majority vote in favour, so all eyes will be on parliamentarians for what happens next.
FEATURED IMAGE: The cost of living: South African Rands may not stretch as far if proposed VAT increase takes effect. Photo: Adobe Stock
While mainstream media often chases the sensational and the spotlight, Ishan Tankha’s lens seeks out the silenced revealing the lives and stories that slip through the cracks.
The Wits Centre for Journalism hosted independent documentary photographer, Ishan Tankha, on March 4, in a seminar about photojournalism’s preoccupation with the spectacular. Tankha is known for his compelling portrayal of the marginalised and forgotten.
His work, which spans continents, from his homeland in India to the United States, reflects his dedication to telling the stories of those often overlooked by mainstream media.
Tankha’s photographic journey is deeply rooted in his commitment to uncovering the narratives of people caught in the “in-between” — those who are typically absent from the headlines, such as minorities, displaced communities, and individuals enduring the effects of conflict. His focus is on capturing raw, untold stories that challenge perceptions and humanize complex social and political issues.
During his presentation, Tankha spoke candidly about his approach to documentary photography, emphasising that his work cannot be summed up in a single sentence.
Rather than taking a surface-level view of global conflicts, his work delves into the lives of individuals caught in the throes of war, violence, famine, and unrest. What sets him apart is his patience and dedication to his subjects.
He shared that, at times, he spends years observing and building trust with the people he captures, allowing their stories to unfold in a way that goes beyond what is immediately visible. This long-term commitment is essential to truly understanding the nuances of their lives, creating images that resonate deeply with audiences and spark conversation.
Tankha’s exploration of conflict through photography is not just about documenting the chaos but about interrogating the broader implications of these events on human lives. He aims to reveal the extraordinary situations of ordinary people living in extreme conditions. His focus is not just on the grand, often violent narratives of war or famine but on the silent struggles of individuals who are left behind by history, their stories ignored or forgotten by the world.
Having exhibited his work both in the United States and India, Tankha’s photography transcends borders. His powerful images are a call to attention — a reminder that there is always more to a story than what is immediately apparent.
Through his lens, he challenges the dominant narratives of conflict, shedding light on the quiet, complex, and often painful realities faced by individuals who live in the shadows of history. His work is a vital contribution to the world of photojournalism, ensuring that the stories of the most vulnerable are not only told but understood.
FEATURED IMAGE: Motorcyclists in India as seen through the lens of Ishan Tankha. Photo by: Ishan Tankha
“Apartheid was a means for Afrikaners to assert superiority based solely on their white skin,” Dr. Mbuyiseni Ndlozi.
On February 25, at the University of Witwatersrand, political activist and scholar, Dr. Mbuyiseni Ndlozi and historian Professor. Achille Mbembe engaged in a compelling discussion on apartheid’s enduring legacy in South Africa.
At a time when AfriForum, an Afrikaaner rights group —a subgroup of the country’s minority white population—has strongly opposed the recently signed Expropriation Act. The group claimed that their lives and land are under threat and lobbied for external pressure to be exerted on the South African government.
This sense of violation has reignited historical debates about land ownership, power, and identity in South Africa. Scholars like Ndlozi and Mbembe critically examined the origins of the Afrikaner identity and highlight the irony of their appeals for protection from elite allies, given their own historical role in land dispossession
Starting off with some linguistic and historical clarity, Ndlozi said: “The term ‘Afrikaner’ was originally inclusive, referring to natives, slaves, and various groups. However, Dutch settlers later claimed it for themselves to assert their status as white Africans.”
Quoting German philosopher Hannah Arendt, Ndlozi highlighted South Africa’s unique racism, noting that Dutch descendants had declined to a point where only skin colour set them apart from Black Africans. In response, they forged an Afrikaner identity through language, religion, and nationalism, cementing their dominance under apartheid.
Ndlozi said in Western civilisation, Afrikaners were seen as embarrassingly backward, lacking in scientific inventions and adhering to contemptible work ethics- a far cry from typical Western standards.
Mbembe remarked: “In a striking reversal, post-apartheid South Africa now sees former oppressors rebranding themselves as victims—seeking support from powerful allies and claiming they face extermination. This ironic shift demands deeper examination.”
Mbembe expanded on Ndlozi’s point about apartheid being deeply embedded in South Africa, noting that history is once again repeating itself. He drew a parallel to the ongoing violence in Gaza, where the oppression and systemic control once seen under apartheid are reflected in the Israeli attacks on Palestinians.
Mbembe argued that the mechanisms of domination—land dispossession, militarised control, and the denial of basic rights—persist in different forms across time and geography, reinforcing the need to critically examine these patterns of power and resistance.
Afrikaners have historically been known as Voortrekkers, and Ndlozi asserted that if conversations about equality among all South Africans drive Afrikaners to want to leave the country, they should be free to go—just as they have sought refuge elsewhere in the past.
The discussion underscored that apartheid functioned as an imperialist strategy to culturally elevate Afrikaners, reinforcing their dominance through colonization, military force, and other means.
FEATURED IMAGE: Political activist and scholar, Dr.Mbuyiseni Ndlozi shaking hands with Prof.Achille Mbembe after a thought-provoking conversation that they held. Photo by. Wits University
The clock on the extension for spaza shop owners to register their businesses within their local municipalities is fast running out, and one Witsie is doing his bit to help.
BroughtCargo, founded in 2022 by Wits medical student Lethabo Maphopha, supports spaza shops by supplying bulk products and hosting workshops on registration and food storage best practices.
Speaking to Wits Vuvuzela Maphopha said: “We teach shop owners about hygiene, storing food items separately in the fridge to avoid cross contamination and to avoid the use of pesticides that are associated with food poisoning and share booklets that educate on food handling.”
Food items from a spaza shop in Diepkloof, Soweto. Photo: Katlego MtshaliA registered spaza still open for business making it possible for the owner to serve his community. Photo: Katlego Mthsali
In November 2024, 23 people in Gauteng died because of food borne-related poisoning after consuming food from spaza shops. Most of the deaths were children aged between 6 and 9.
In addition to that number at least 441 cases of food poisoning were reported in the Gauteng province that year.
In efforts to address this challenge President Cyril Ramaphosa announced the compulsory registration of spaza shops to ensure compliance with standard health and safety regulations. The failure to comply would result in indefinite closure.
BroughtCargo, with the help of the Momentum Foundation, jumped at the opportunity to expand operations to assist with these registrations. In addition to registrations the partnership extends financial advice, access to funding opportunities, and financial literacy education. So far, over 500 informal businesses have benefited from the partnership.
There are usually two distinct processes when registering, the first is business compliance which is mandatory for any food handling business. The second is compliance with health regulations, should a business fail to comply with the necessary health regulations they will be forced to shut down despite having done the first process.
With only a few days left to register, and another extension unlikely, spaza shop owners have one final chance to join some of the 20 000 shops already approved.
FEATURED IMAGE: A consumer purchasing goods at a spaza shop in Diepkloof Soweto. Photo by: Katlego Mtshali
SADAG debunked myths around teenage suicide and offered practical solutions to curb this growing concern.
The National Department of Health (NDoH) data indicates that approximately 1 in 14 teenagers died by suicide last year in South Africa.
On 10 February 2025, the South African Depression and Anxiety Group (SADAG) held a webinar to discuss a critical issue affecting young people: teen suicide prevention.
As part of Teen Suicide Prevention Week (9-16 February), the webinar aimed to raise awareness, break stigmas, and provide support for those affected.
Teens are reportedly facing a wide range of challenges, such as bullying, family and relationship issues, depression and academic stress. Teens frequently feel overwhelmed, powerless, and despairing because of these issues.
Clinical psychologist Zamo Mbele said “regular check-ins are even more crucial because teens frequently feel bad and do not want to burden their friends or family with their troubles.” He added that SADAG receives 1500 calls on average from teens as they would rather speak to a stranger than feel judged by loved ones.
The campaign for this year, ‘Your feelings matter, let’s talk’, highlights the significance of establishing secure environments where the youth should feel encouraged to ask for assistance.
Mbele suggested that the media could change the language in which they use to report on suicide cases “Instead of saying someone committed suicide rather say they died by suicide.” This can humanise instead of criminalise the issue.
“Avoid graphic details about the method of suicide or any other sensational detail, instead when reporting focus on whether the individual had been struggling with suicidal thoughts for a long time,” he added.
“Research shows that talking about suicide with a young person does not cause them to have thoughts of suicide or create a desire to end their lives,” said Mbele. The danger comes from not talking about it.
Visit SADAG’s website and use the suicide free helpline (0800 667 657) for more information. By sparking open conversations teenagers can be made to know that their feelings matter.
FEATURED IMAGE: Adobe stock image of a teenage boy looking distressed. Photo: Adobe Stock
Just when you thought season two had reached its peak of drama, season three will have you on the edge of your seat, gasping for more.
Young, African and Famous is a Netflix reality series directed by Wesley Masilo Makgamatha, and follows the glamorous lives of African media personalities from South Africa, Zimbabwe, Uganda, Namibia and Tanzania to name a few.
Exciting new characters are added to the cast this season, Nollywood actress Ini Edo, entrepreneur, Shakib Lutaaya and South African social media sensation Kefilwe Mabote. Viewers can anticipate drama, luxury, and vulnerable moments throughout the series.
This season of Young, African and Famous brings fresh drama and excitement as Zari and Shakib take centre stage, stealing the spotlight with their highly anticipated wedding.
The wedding was undeniably beautiful and intimate, radiating love and excitement. However, the event was marred by Annie’s comments, which were loud and uncomfortable. She repeatedly pointed out the age gap between the bride and groom, suggesting that Shakib could be Zari’s son’s friend, which I believe felt out of place, especially in front of Zari’s family. Her remarks added tension to the occasion, taking away from the celebration’s joy and highlighting the group’s awkward dynamic.
This season, Annie seem determined to fix the relationships she damaged last season, especially with Zari and Swanky, as she works to rebuild trust within the group. However, I cannot help but feel that Annie’s actions reveal a narcissistic side to her—she never truly takes accountability for her behaviour and seems to lack the self-awareness she claims to have. Her constant attempts to play victim or deflect responsibility only made me more frustrated.
Swanky shares that after the previous season he went to therapy and in this new season of strong personalities and dramatic moments, his composed manner make him a welcome presence.
I find Diamond’s attitude towards women off-putting this season. He believes he can be with any woman at once, treating Fantana poorly and playing games with her feelings. It’s frustrating to watch because it comes across as disrespectful and manipulative. As for Naked DJ and Kayleigh, their relationship had me feeling like the show was scripted. It felt odd that they only had certain serious conversations about commitment when they were with their friends, considering they live together. Those kinds of discussions should have been happening privately, and it made the whole situation feel more staged than real.
Nollywood actress Ini Edo’s arrival infuses the group with new and potent energy because of her strong personality and commanding presence, which open new avenues for developments and conflict.
However, the biggest drama of the season emerges from the fiery clashes between Kefilwe and Zari. Their intense and chaotic interactions become some of the most talked-about moments, which left me eagerly anticipating the next twist in their ongoing feud.
Overall, my takeaway is that while the drama and intense moments keep things interesting, it is the humour and unpredictable dynamics that really make the series entertaining. Despite the conflicts, there is still a lot of growth and real moments that make you want to see what happens next.
Vuvu Rating 8/10
FEATURED IMAGE: An image of the season 3 cast from Instagram by Netflix.
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
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