The rapid development of artificial intelligence (AI) correlates with the evolution of digital crimes.
Financial institutions use AI to detect fraud, but criminals are also using AI to develop new ways of committing fraud.
In the pursuit of developing world-class AI for Africa, data security is the most critical element in securing Africa’s digital economy.
In an undeniable reflection of Africa’s burgeoning digital economyby Mastercard, the continent’s AI market is projected to skyrocket from an estimated R78 billion in 2025 to a massive R286,9 billion by 2030. South Africa’s projected AI market size is over R20 billion as of 2025, according to the report by Mastercard. As a direct response to this financial surge, nations like South Africa are moving to secure this digital future.
As we progress further in the development of a digital Africa, traditional, rule-based security systems are proving to be slow and ineffective. From phishing emails, spam texts to sophisticated deepfake attacks, criminals are constantly evolving their methods.
Standard Bank’s Head of payments, Rufaida Hamilton, wrote an article discussing the role of AI in detecting, monitoring, and preventing payments fraud. Hamilton states that AI is transforming fraud prevention in the financial sector by moving beyond traditional rule-based systems to proactively detect and monitor payments fraud in real time. AI-powered systems can detect these patterns in transaction data, identify unusual customer behaviour, and even analyse text and voice to flag suspicious activity in real-time.
Above: Data chart showing the number of AI-related scams over a three-year period. Graphic: Katlego Makhutle/TRM Labs
However, the article also notes that this is a continuous cat and mouse game, as criminals are simultaneously using AI to develop more sophisticated scams and mimic human behaviour. The South African Banking Risk Information Centre (SABRIC) released an annual report in 2024 stating that there’s an uptick in AI-powered financial crimes, with criminals getting more creative in their use of AI to commit phishing, deep fakes and creating synthetic identity frauds.
According to SABRIC, a major underlying threat is the rise of synthetic identities, which are fictitious personas created by AI that blend real and fake data. These digital phantoms are used to apply for loans and open fraudulent accounts, bypassing traditional verification systems designed to spot real people.
Application fraud remains a significant concern, with false applications alone contributing 2.9% of card fraud losses. Beyond just tricking individuals, AI is also enabling a new kind of “ghost” fraud that attacks the very foundations of the financial system. TRM Labs also reported that criminals are now using AI to generate hyper-realistic deepfakes of executives to trick employees into wiring millions.
SABRIC’s report also reveals that criminals are no longer just relying on clumsy, rule-based attacks but are harnessing AI to craft a new generation of scams. Gone are the days of misspelt phishing emails and awkward grammar.
Instead, criminals are deploying generative AI to produce “error-free phishing emails” and “AI-generated WhatsApp messages.” This shift makes every text and email a potential trap, turning the most common forms of communication into potential tools for digital fraud.
While overall financial crime losses saw a decline of nearly 18%, dropping from R3.3 billion in 2023 to R2.7 billion in 2024, digital banking fraud has surged, becoming the dominant threat South Africa’s digital ecosystem.
The number of reported digital fraud cases more than doubled, soaring from 31,612 in 2023 to 64,000 in 2024. This dramatic increase resulted in a proportional rise in financial losses, which climbed from R1 billion to over R1.4 billion in the same period.
The fight for control over Africa’s digital financial landscape is a new kind of “Code War,” where fintech innovations and AI-powered defences are locked in a continuous escalation with sophisticated digital criminals.
However, the adoption of AI in this context is not without its own set of challenges, particularly concerning data privacy, algorithmic bias, and the need for robust regulatoryframeworks. The solution to these escalating threats extends beyond technology and connects directly to the concept of data sovereignty and security in Africa.
Wits University’s School of Electrical and Information Engineering lecturer, Dr. Martin Bekker, noted that AI in Africa still needs to be given representative data by Africa and for Africa. Bekker highlights that sharing data with any Language Learning Model (LLM) is not secure or private and sharing data with these tools does not present any “unique” security challenges; instead, it exacerbates existing challenges.
“Digital security is always relative [and] never absolute…[its] a bit of a cat-and-mouse game. However, there are ideas such as hosting your own open-weight LLM internally, as opposed to using an online service, which are emerging as best practices. As for the ethics – AI training appears to rely on quite a bit of IP misappropriation, super-high energy use, and if there is RLHF (Reinforcement learning from human feedback), possible labour exploitation too,” Bekker stated.
At the recent GovTech 2025 conference, South African Minister of Science, Technology and Innovation, Professor Blade Nzimande, warned that without digital sovereignty, the country’s national sovereignty is at risk, as data becomes increasingly controlled by foreign tech giants.
“We need digital sovereignty. We can’t have our data controlled by everybody, anywhere in the world,” Nzimande stated. The purpose of building local data centres is not solely based on the physical storage of data. It also points to a strategic move that is working to ensure that African-based financial data remains within the continent’s borders, is subject to local laws and is used to develop a domestic AI industry that serves African needs and values.
The long-term defence against AI-powered crime and data breaches must be a holistic one. However, simply localising data and regulating financial institutions does not automatically guarantee security or sustainability. The story of AI in Africa’s financial sector is therefore a complex narrative of innovation and vulnerability. An ever-changing and unfolding story, where advanced digital technology is the best defence against crime and the most potent weapon for digital fraudsters.
FEATURED IMAGE: Hand holding phone with scam alert on the screen Photo: Katlego Makhutle
A new generation of creators is learning to dance with the machine, one pixel at a time.
Major African festival, AVIJOZI, focused on the intersection of creativity and technology, highlighting the best of film production, animation, visual effects, and gaming.
AI technology should not replace artistry or creativity but should assist in shaping the future of African creatives and professionals.
Some artists are already using AI to finetune workflows and accelerate production.
As filmmakers, animators, and VFX artists gathered at AVIJOZI 2025, they weren’t just discussing new software, they grappled with a new creative partner: Artificial Intelligence (AI). Hosted on September 13 -14, in Hyde Park, digital art flickered across massive screens as the next great animated film was being dreamed up, a creative revolution underway. AVIJOZI wasn’t just another festival; it was a front-row seat to the future, where the line between creator and code is blurring.
VFX Specialist & Head of Innovation at Digital District, Nicolas Erba Photo: Katlego Makhutle
Nicolas Erba, the Head of Innovation at Paris-based Digital District, approaches technology with a pragmatic, forward-thinking mindset. Erba acknowledged the technical and conceptual challenges of integrating AI by noting that AI-generated images are often not “natively ready” for high-end production, citing issues with resolutions that are “too small for cinema” and difficulties with colour grading. He also pointed to a more abstract hurdle – AI introduces “completely new” concepts that are unfamiliar to many artists. His daily work involves overseeing tech monitoring, a process he described as scouting for and selecting new, production-ready AI technologies to “level up” the company’s existing pipeline.
Despite the complexities of AI in VFX work, he sees AI as a critical tool for automating repetitive tasks. Erba cites rotoscoping as a prime example, a manual tracing process that once took a human two days, can now be completed by AI in just ten minutes. The South African Cultural Observatory (SACO) reported that 68% of creative professionals surveyed were excited by the advent of AI. A similar percentage of 70% was already using AI tools in their daily work. Erba firmly believes that the future of the industry lies in a “hybrid workflow” that blends traditional techniques with AI, asserting that the true threat to artists is not AI itself, but rather other artists who embrace the technology to gain a competitive edge. “I don’t think that graphics artists are going to be replaced by the AI itself but some of them might be replaced by others using AI,” Erba said.
Senior lecturer at Wits University’s School of Architecture and Planning, Dr. Sechaba Maape, facilitated a workshop at AVIJOZI on demystifying AI and incorporating cultural intelligence. He believes this element is crucial for anyone using AI to create creative work about African people and places. Maape is an architect, urban designer, and founder of Afreetekture, a cultural consultancy that focuses on shifting the discipline of architecture and in the digital age. “Cultural intelligence is really for me about understanding the nuances of culture, how culture circulates, you know, like how culture frames meaning,” he said.
Maape challenged the simplistic, often stereotypical portrayals of Africa that persist online by developing AI models that explore the nuances of South Africa’s multicultural society. “We don’t have flies flying around our mouth. We are self-actualised,” Maape said.
Maape’s core concern is that if AI is trained on biased data, it will perpetuate stereotypes. “What I’m more worried about with AI than anything else, is that if you think about the pictures that have been taken that are supposed to be about Africa on the internet…I can bet you anything that it’s going to be a massive difference between those pictures and your day-to-day life,” he said. He said a person who only knows South Africa through online media might create a video game heavily focused on crime and fail to capture the everyday reality and cultural richness of places like Johannesburg. For Maape, cultural intelligence is about the human user’s ability to discern and understand the nuances of a culture, how it circulates, and how it frames meaning.
Lauren Fletcher, Audiovisual Project Manager at the French Institute of South Africa (IFAS), is focused on a similar and crucial facet of the AI discussion: empowering a new generation of creators. Her role involves fostering partnerships between French and South African professionals, such as the one between Erba’s Digital District and AVIJOZI partner and visual effects studio, Chocolate Tribe. Fletcher cautioned against the misconception that one can simply “chug in a few words and have a video come out”. Fletcher emphatically said: “If you’re not doing the work, the research, creating your own images to put into the different AI programmes, [then] you’re going to get really poor results.”
This belief is a core part of the Unrecorded Voices project, in which 12 South African digital artists used AI to create work with historical context: proving that research, authenticity, and creativity are what truly make a project impactful. Fletcher said that AI technology should be a layer built on a foundation of human creativity, not the other way around. Fletcher and her team are in the midst of a three-phase project that explores the impact of AI on the audiovisual sector, with the goal of creating connections and opportunities for local talent.
The festival brought together professionals in gaming, animation, film, and special effects to share insights, build capacity and bridge the gap between creativity and technology. The question is no longer “Will AI replace us?” but rather, “What can we create with it?” It is through the lens of cultural intelligence and artistic ingenuity that AI’s true potential can be unlocked, proving that its greatest purpose is to enhance and not diminish the human element of creative storytelling.
FEATURED IMAGE: A collage of photos taken at the AviJozi festival on September 13 and 14, 2025. Photo: Katlego Makhutle
Innovators, industry leaders, and seasoned professionals gathered to discuss AI’s purpose in Africa’s key sectors.
Experts agreed that AI is a powerful tool, particularly in the health sector.
From a legal perspective, the greatest threat from AI is its potential to concentrate wealth and power in the hands of a few corporations.
With AI as a resource in Africa, there is a clear call for models and frameworks that are designed to serve African-based principles and values.
Delegates explored AI’s transformative impact across various sectors whilst delivering important critiques about ethical applications and regulations of artificial intelligence (AI).
Minister of Communications and Digital Technologies, Solly Malatsi, highlighted its potential to revolutionise Africa’s future, which was the central theme at the CNBC Africa’s inaugural AI Summit at Indaba Hotel in Fourways.
Minister of Communication and Digital Technologies, Solly Malatsi, giving his keynote address Photo: Katlego Makhutle
The inaugural summit sponsored by Telkom in partnership with Forbes Africa and VISA, launched on Thursday, August 14, with important panel discussions moderated by CNBC Africa anchors.
Medical practitioner and CEO of Alpha and Omega MedTech, Dr. Brett Lyndell-Singh highlighted AI’s applications in healthcare, explaining how it is already being used to improve diagnostics in radiology, pathology, and dermatology.
Lyndell-Singh said, “I think it can be used for education [and] health awareness, but it cannot replace a doctor, especially [in] surgery. It’s not going to replace surgery, especially in Africa, any time soon…but you can actually have homoeopathic remedies that you can get from AI and ask it to give you some common remedies for flu, for example.”
Associate Lawyer at The Digital Law Company, Rorke Wilson, offered a legal perspective on the technology. Wilson acknowledged that AI introduces new digital security threats, such as a personal assistant AI that could compromise a user’s entire data ecosystem.
He argued that the primary threat is not the potential of a sentient AI, but rather AI being used to consolidate power and wealth to a few corporations. In the panel session, he noted that South Africa has its own commission in the works and later told Wits Vuvuzela, that perhaps the EU-AI Act-the first major legislation of artificial intelligence in the world, can be used as a “great framework” for creating a new regulation in South Africa.
The summit’s panel on education argued that it should be embraced for disruption. Professor Kat Yassim, Associate Professor at the University of Johannesburg’s Department of Education Leadership and Management, highlighted that young people are “digital natives”. She emphasised that universities must adapt their teaching and assessment methods alike.
Yassim challenged the traditional academic view that students have a propensity to cheat. “Should our measurements not be different? Should it always be about a mark? And that is what AI is forcing us to do. It’s forcing us to question. It’s forcing us to evolve,” she said.
She advocated for a collaborative learning environment where professors and students co-create knowledge and experiment with AI as a tool. Yassim provided a striking example from her own class, where 35% of students went on to become digital leaders in their schools after designing their own learning platforms using an AI-assisted process.
She asserted that this success is the true measure of learning and impact, demonstrating that when AI is used as a tool to enhance personal abilities, it can help students make a real difference in their communities and careers.
Overall, the summit painted two sides of the AI debate in Africa. One focused on the immense potential for innovation and the other on the critical need for ethical oversight and equitable development.
FEATURED IMAGE: From Left to Right: Founder of World Wide Worx, Arthur Goldstuck; Old Mutual Group Chief Technology and Data Officer, Dhesen Ramsamy & Openserve Chief Information Officer, Reubin Layman Photo: Katlego Makhutle
Creative Nestlings hosted a panel discussion about the importance of building community by working towards a profitable creative industry for filmmakers and online creators.
Creative Nestlings has facilitated key discussions and communal events for creatives, empowering them to step into the industry with the tools and connections to make informed decisions
The event featured a notable panel including Founder of NW+TV, Muthoni Waigwa, who emphasized the importance of authenticity and ownership of African content
Muthoni Waigwa, producer-filmmaker and Founder of NW+TV Photo: Katlego Makhutle
NW+TV is an African-centric platform that aims to foster a community of creatives that can monetize and digitize their content in Africa
#ConversationsOnCreativity is an events campaign facilitated by Creative Nestlings. On Saturday, 26 July, the NPO – which specialises in educating and connecting African creatives across the continent, hosted a panel discussion as part of their initiative to empower young creatives. The panel discussion focused on how African filmmakers and content creators can master methods of distribution and monetisation.
The event was also inclusive of online content creators, writers, producers, and directors who sought to learn more about the critical need of building an equitable and African-rich storytelling industry. Dillion Phiri, founder of Creative Nestlings, highlighted that the business side of creative work, such as pitching and licensing, begins with doing research, being resourceful and building a strong community.
Through #ConversationsOnCreativity, Creative Nestlings has dedicated their platform to do that, by partnering with NW+TV, an African-centric online streaming platform catering to small and independent content creators, filmmakers and producers.
Muthoni Waigwa, Kenyan producer and host of the podcast Moments with Nderru, stated that monetization of films, documentaries, podcasts and series’ starts with research and expanding your network. Waigwa, a passionate media buyer, emphasized that “owning our narrative and telling our stories bravely” is a powerful tool for preserving our cultures and languages, whilst working towards moving away from a Western way of telling African stories.
“What our platform is seeking to do is to elevate African voices,” said Waigwa.”For far too long, the Western media or audiences have dictated what our story should sound like, look like, and be produced, and so our stories have been diluted and misunderstood along the way.”
The panel also discussed the need for visibility in changing the perceptions of creative work and the continued challenges of sustaining a reputable brand in an ever-changing digital age. Additionally, challenges in distributing content are largely due to a lack in resources and understanding of the research required to make informed decisions on content licensing and distribution.
Producer, writer and actress and Wits alumna, Kirsten Muhammed. Photo: Katlego Makhutle
According to a report examining the impact of Digital Communication Technologies on the Film industry in SA, the shift from traditional media distribution to digital media distribution has changed the arts and entertainment industry significantly. There is a growing preference amongst audiences for films and other audiovisual content to be available online. Content distributed as large digital files rather than physical media has helped creators and producers spend less money on transportation and storage costs of physical footage.
Another key theme in the panel discussion was the importance of being “versatile” by occupying different roles in small to large scale productions, as it often creates a streamline for more opportunities and exposure to crucial employment networks.
Writer, producer and actress, Kirsten Muhammed, told Wits Vuvuzela that it was hard trying to break into the industry, but once she gained an opportunity as a writer, it motivated her to persevere and get seen in a serious light in other different roles, including film production.
Muhammed is the co-host of SABC2’s Disney Cookabaout and graduated from Wits University with a Bachelor of Dramatic Arts in Performance and Directing in 2015. The Wits Alumna said that the industry is shifting towards a truer reflection of portraying everyday African experiences. Motivating students and aspiring creators, Muhammed says, “We’re all still learning as we go. Budgeting, scheduling, storytelling…just keep learning and it’ll happen.”
FEATURED IMAGE: From left to right- Director Dumisani Phakhathi, Director Karabo Lediga, Actress Kirsten Muhammed, NW+TV founder Muthoni Waigwa, and Creative Nestlings Founder Dillion Phiri. Photo: Katlego Makhutle
On May 21, 2025, the US government met with SA’s presidency to discuss key issues that threaten SA and the USA’s longstanding alliance.
This follows the first group of Afrikaner refugees being granted asylum in the USA under the executive order by President Trump.
False claims of white genocide and persecution continue to threaten the stability of social and political relations.
Earlier this year, President Donald Trump publicly addressed accusations of white genocide in South Africa, highlighting the Expropriation Act 13 of 2024 as proof of these claims. Trump followed this up by issuing an executive order granting Afrikaners refugee status in the U.S.A. Three months later, the first group of refugees departed from O.R. Tambo International Airport on Sunday, May 11.
AfriForum’s media manager, Ilze Nieuwoudt said: “AfriForum is not involved in the resettlement programme of the refugees but has been involved in the debate as it has developed over the past few months.”
The highly anticipated meeting happened on May 21 at the White House. Ramaphosa was accompanied by Minister of Agriculture John Steenhuisen, Minister of Trade, Industry and Competition Parks Tau and Minister in the Presidency Khumbudzo Ntshaveni. Interestingly, the entourage also included golfers Ernie Els and Retief Goosen, and billionaire Johaan Rupert.
During the meeting, Ramaphosa expressed “joy” and said he wanted to “reset the relationship between the United States and South Africa” due to the longstanding alliance.
Trump’s attempt to corner Ramaphosa and his delegates by playing video clips of Julius Malema singing the controversial, ‘Kill The Boer’ (an Apartheid-era struggle song) at an EFF rally was unsuccessful. Another clip included former president, Jacob Zuma singing ‘Dubula iBhunu’ (Shoot the Boer) at an ANC rally.
South African Research Chair in Mobility & the Politics of Difference in the African Centre of Migration and Society at Wits University, Dr. Loren B. Landau, said that by any standards, white Afrikaners do not face persecution.
“Individuals may face discrimination or threats, but if you look at landownership, employment, government leadership, and business, Afrikaners are overrepresented.”
Echoing Landau’s statements, Director of Wits University’s Centre for Diversity Studies, Professor Nicky Falkof, highlighted that legitimate refugees are still being excluded while privileged white Afrikaner refugees get the “red carpet treatment” from the U.S.A.
“The less airtime we give to these ridiculous, self-serving, hysterical, sensationalist far-right mythologies, the better,” Falkof asserted.
Worried of the risks and the potential fallout, Falkof warns that racial violence could be on the horizon, with retaliation from armed local far-right groups looming due to the current misinformation crisis that is radicalising their political stances and ideologies.
Ramaphosa addressed Trump’s misinformed claims as false and urged that Trump listen to South African voices, including those of his white friends in the room.
The meeting concluded on a hopeful note. Ramaphosa said that he still expects the U.S. to remain a key ally, especially with the upcoming G20 summit in November 2025.
FEATURED IMAGE: Digital artwork showing the flags of South Africa and the United States of America, with side-by-side portraits of President Cyril Ramaphosa and Donald Trump while a fire rages beneath them. Graphic: Katlego Makhutle
Sinners is a genre-defying film that follows twin brothers, Smoke and Stack, as they return to their hometown to open a jazz club for their neighbourhood – with terrifyingly unexpected consequences.
Sinners is a supernatural horror epic that will surely leave viewers hooked and inspired
Ryan Coogler makes history by retaining creative control and getting the box office first-dollar gross
The film seamlessly blends music and horror with rich African American culture
Set in the 1930s in Mississippi, the opening night of the club unwittingly summons bloodthirsty vampires, leading to an epic final battle that sees the film take on an unnerving and damning climax. While Sinners incorporates musical and horror elements with American gothic fantasy, director, Ryan Coogler is keen to highlight that the film transcends typical genre boundaries.
By setting the story in the racist deep south of the United States, Coogler creates a narrative that is both chilling and thought-provoking. He flips the white saviour complex on its head through the film’s main vampire and antagonist, Remmick. Smoke is a noble protagonist & Michael B. Jordan did an amazing job playing the twins – with Stack being a terrific and nuanced villain.
The film’s scene stealer is Wunmi Mosaku. Her arresting performance as a hoodoo practitioner and Smoke’s wife, Annie, brings a quiet grace that warms the big screen. The chemistry between Smoke and Annie is palpable and their relationship really anchored the storyline’s emotional pull.
Sinners isn’t just a bold cinematic vision – it also stands as a landmark in filmmaker autonomy. In a rare deal with Warner Bros., Coogler secured first-dollar gross, meaning he earns from the film’s very first ticket sale, a privilege usually reserved for box office royalty. He also retained final cut rights, giving him full creative control over the film’s edit.
Most strikingly, he negotiated a reverse of ownership after 25 years, allowing the film’s rights to revert fully to him-which is nearly unheard of in Hollywood and reflects a growing shift toward creator-led power in studio filmmaking. The film’s cinematographer, Autumn Durald Arkapow, previously worked on Black Panther with Coogler. Coogler says “This cast reminds me of the Panther films, but in a way it’s maybe more exciting in that when audiences watch this…” noting that the cast built a community during filming much like the Black Panther cast.
Sinners is a love letter to the art of filmmaking and music. Collaborating closely with iconic composer Raphael Saadiq, Coogler ensures that the film’s music and score is integral to its storytelling. The fusion of blues and jazz music through Miles Caton’s character, Sammie, serves as a conduit for understanding the complexities of Black religious identity while navigating an artistic calling in music.
Sammie, a cousin of the twins, was the best character and Caton’s complex performance is arguably the strongest. It was heartfelt, relatable and his richly husky singing voice fills the entire cinema. I absolutely loved the immersive cinematography and sound production; it was crisp and spectacular! The awe-inspiring montage showing the different eras and cultures of Black music was an enthralling choice to include. It was beautiful, but felt out of place in the storyline’s progression and it took me out of the movie for a second – which isn’t something I always like when I’m tuning in.
Overall, the film is jarring and nuanced but in a captivating way that will surely inspire dialogue amongst viewers. A definite must-watch for anyone who enjoys a solid & well-written movie.
Vuvu Rating: 9.5/10
FEATURED IMAGE: Sinners Theatrical Poster Release Photo: Supplied/Wikipedia
Dr. Malose Langa’s book has gained critical acclaim for bringing a focus and care to an often-neglected group in society.
Professor Malose Langa’s book highlights the importance of healing and intervention for young black men
Dr. Langa’s work is critical for understanding collective violence and masculinity in post-apartheid South Africa
Safe spaces can be established once we give grace to young men in society and acknowledge all expressions of masculinity
Toxic masculinity, patriarchy and hypermasculinity are some of the popularised phrases that have come to dominate discourse on violence and manhood in South Africa.
The Wits Division of Student Affairs held a Postgraduate Book Club first meeting in April, at Senate Room-East Campus hosted the book Becoming Men: Black Masculinities in a South African Township, authored by Wits academic & Professor of Psychology Dr. Malose Langa.
The book follows thirty-two boys from adolescence into early adulthood, capturing their evolving identities and masculinities amid the pressures of absent fathers, peer pressure, and systemic poverty as they grow up in Alexandra, one of Johannesburg’s most complex and crime-ridden townships.
In the aftermath of the robust discussion at the book club, Wits Vuvuzela looks at the man behind the engaging book.
Dr. Langa has nearly twenty years of experience as a private practice psychologist with a background in psycho-legal work, leveraging his LLB in his research of masculinity, collective violence and abuse. Langa is a board member of Gun Free South Africa and has authored research reports about the Marikana Massacre and the Community Work Programme (CWP) for the Centre for the Study of Violence and Reconciliation (CSVR).
Additionally, Langa contributes to various academic and media platforms, including The Conversation and Bhekisisa and, he is an associate researcher at the Society, Work and Development Institute (SWOP). Listen to Langa discuss some of the insights he learned during his study for the book:
Video: Katlego Makhutle
His research focuses on risky behaviours in youth, collective trauma, and developing black masculinities in post-apartheid South Africa. Langa has co-authored The Smoke That Calls, a research report analyzing collective violence and protests in post-apartheid South Africa. Langa has recently been appointed as the lead researcher for a concept paper on positive masculinities for the upcoming G20 Summit 2025, hosted in Johannesburg.
In response to a question about his career highlights, Dr. Langa expresses gratitude over watching the boys choose better life paths, despite their circumstances, noting his pride in wearing a suit designed by one of the boys during an inaugural lecture.
The Sunday Times CNA Literary Award for Non-Fiction winner for 2021 notes that the messages society gives young boys in their early development often shapes large portions of their identities. Langa’s approach is both analytical and compassionate, using psychoanalytic insights to reveal how young men grapple with conflicting models of manhood by often embracing negative behaviours like aggression and risk-taking, while also yearning for gentler, more emotionally intelligent alternatives.
Langa’s work is a critical resource in understanding the complexities of black male youth in South African townships and beyond. His best-selling book is a greater call to action for creating spaces where young men can redefine what it means to be a man.
Dr. Langa briefly describes his experience working with the boys & shares some words of wisdom. Video: Katlego Makhutle
FEATURED IMAGE: Dr. Malose Langa at Wits University’s Postgraduate Book Club – Senate Room Photo: Katlego Makhutle
TikTok’s Creator Rewards programme has yet to be implemented in African countries, and South African are looking to government for help.
Minister Solly Malatsi advocated for the monetization of TikTok at The Safer Internet Summit held in Cape Town
TikTok needs to improve its monetization features for content creators in South Africa and on the continent
TikTok has committed to further engagements with the Minister
TikTok has faced increasing pressure from its African users for monetization and expand its outreach programmes to African countries. TikTok has 17.6-million users in South Africa (SA), with most of them unable to get monetized through the Creator Rewards programme.
Despite SA having more users, countries such as South Korea and Chile enjoy access to the Creator Reward Programme, enabling their creators to sustain themselves through their content creation
At the Safer Internet Summit, Minister of Communications & Digital Technologies, Solly Malatsi, made a call to action for TikTok to implement monetization tools for all African users. The TikTok-sponsored summit gathered political leaders, digital media consultants, & experts to discuss online safety and policies.
Carmen Ramsay (22), a Political Science graduate from the University of Pretoria, said that she left the app due to feeling demotivated from creating lifestyle content that she wasn’t making enough money from.
“We are all in the same market but it’s actually harder for us…we spend so much more effort, money & time into actually creating content that can compete with international level content creators,” she said.
Siphesihle Ntombela (24), a Bachelor of Education graduate at Wits University, stated that content creators should focus more on creating profitable spaces for their content and audiences. Ntombela is weary of government intervention, stating: “If the government is involved, I think content creators would have to register with government organisations and have contracts.”
Content creator, Brendan Roberts, has been advocating for this programme to be implemented and has been working to ensure that users understand that this would not be the case. The fund would simply make it possible for creators to generate income from videos that go viral and have high engagement numbers.
Postgraduate Diploma in Management in Business Administration student Lesego Makinita (24), popularly known as @lesegothebrand on TikTok, argued that the app helps people make ends meet. People such as teachers use the app to connect with their students & to make extra income. Sharing his wisdom gained as a content creator, Lesego advises upcoming content creators by saying: “authenticity is where it’s at…your perspective is your currency & these brands are looking for that. Plan, put in the time, & be consistent. ”
TikTok has informed the minister that they are committed to further engagements with South Africa. Malatsi enthused that economic justice needs to happen & that TikTok must ensure improved online safety measures and policy protocols.
FEATURED IMAGE: TikTok app logo on the screen and a finger about to touch it. Photo: Adobe Stock
The IPID has dropped its charges against KZN’s Provincial Police Commissioner due to a lack of evidence.
The Independent Police Investigative Directorate (IPID) has officially dropped its charges against the Provincial Police Commissioner of KwaZulu-Natal (KZN). The case, launched on March 19, was a result of an anonymous tip off against Lieutenant General Nhlanhla Mkhwanazi.
According to EyeWitness News, he was accused of having cleared allegations against a prison official, Feroz Khan, who was alleged to have interfered in a drug dealing case.
There’s been a lot of noise around Mkhwanazi lately. Under his leadership, KZN has seen a more assertive police force that isn’t afraid to take the fight to criminals. As recent as January 30, the police were involved in a shootout with Inanda West Gang, a notorious gang that has been terrorising communities in northern Durban.
Mkhwanazi has publicly declared war on gang crime and gun violence, with over 100 suspects getting killed during confrontations with KZN police units. It’s no surprise that figures like National Assembly Chairperson of the Portfolio Committee of Police Ian Cameron have raised concerns about the political undertones of the IPID’s case against Mkhwanazi.
There are questions worth asking. Was this ever really about justice, or just a way to sideline a cop who doesn’t play politics? The latest crime stats from the South African Police Service (SAPS), ranging from October to December 2024, show a 1.6% decrease in contact crime. KZN showed a significant decrease in murders by 9.5% amongst other contact-related crimes.
Some commentators have tried to paint his approach as ruthless and unduly lethal, with the DA leading the charge of pressuring SAPS to implement body cams for everyday operations. However, if that means showing up, cracking down on drug networks and, sending a clear message to criminals, then maybe it’s what the rest of the country needs to adapt to.
Recent data from the IPID in the fiscal year of 2023-2024 reported significant concerns regarding the use of force by the South African Police Service (SAPS) and they additionally reported 187 deaths resulting from police action in KZN, the highest in all provinces. This alarming number was countered by Minister of Police Senzo Mchunu, who argues that these were results of police acting in self-defence against suspects.
Law enforcement can’t be effective when it’s second-guessed at every turn by people who’ve never been put in highly threatening situations. Communities under siege from gangs and drug dealers don’t need long lectures, they need decisive action. Mkhwanazi has been open in recent interviews about the fact that being soft on crime simply doesn’t work in this country and he’s not wrong.
Perhaps, it is time we let more leaders like him do just that, even if we disagree with the methods at hand. A stronger law enforcement system is needed now more than ever, with a balanced reform of policing and law enforcement protocols. That will assist in ensuring that all crime is addressed fairly, immediately and without bias against SAPS.
FEATURED IMAGE: Katlego Makhutle. Photo: File/Paul Botes
A career in the arts is considered risky because of inconsistent pay, scarce work opportunities and instability – issues that were brought to the fore by a recent appeal from a veteran actress.
Nandi Nyembe took to social media to ask the public for assistance with her medical bills
The Performers Protection Amendment Bill was sent to the Constitutional Court by the president in October 2024
Performing artists and students need to rally together and form a stronger collective voice
Legendary actress, Nandi Nyembe (53) opened up about her career and personal challenges with job insecurity and royalties as a veteran performing artist.
In a recent podcast with Sunday World, the Zone 14 and Adulting actress laid bare the precarity of the screen performance industry in South Africa as she discussed her struggles with getting medical assistance.
Despite her lengthy and illustrious resume, Nyembe took to social media on April 1 to ask for assistance from the public. Her video went viral, prompting the Minister of Sports, Arts and Culture, Gayton McKenzie to respond with a R20 000 donation.
Nyembe’s story has become all too familiar. In South Africa, there are currently no royalties for live and on-screen performers.
The Performers Protection Amendment Bill of 2016 was drafted by the Department of Trade, Industry & Competition and sent to the Constitutional Court last year. The amended bill seeks toimplement changes and provide legal protections for live & on-screen performers and artists, who range from acting and theatre to musicians and dancers. The South African Actors Guild says the bill would “help give actors their rightful place in the economy”.
Miss Earth SA third runner-up, Thembi Mathebula (23), described feeling quite sad hearing about Nyembe’s public outcry. The Honors in Theatre and Performance student, majoring in Directing and Cultural Policy Management, emphasised the importance of policy implementation to intervene in this crisis. “Policy makers need to sit down and actually put a stamp on it and say, what do we do when something like this happens?” Mathebula said.
Choreographer Douglas Sekete (52), a postgraduate Diploma in Arts (PDGA) student at Wits Drama for Life, said artists can often go three months without a job. When an opportunity finally comes, the public can often assume that because the artist or performer is working, they are wealthy.
“When the job comes & it pays you like R45 000,00 and you’ve got bills that you need to pay, the public will assume that (because) you appear on TV so you must have this X amount of money, but in a true sense, no. You are left with R2 000, 00, and you have to punch for another job, which may take some time again,” he said.
Collen Makua (32), another PDGA student and artist, stated that the issue isn’t necessarily financial literacy amongst performers in the arts and entertainment sector but the instability of employment opportunities.
Makua highlighted the lack of training programmes and overall decreasing financial support from the state and private entities directed towards the arts sector.
Both Sekete and Makua emphasised the need to create a strong collective voice for all creatives in the arts and entertainment sector. While there’s no clear word on the Bill’s status and its implementation, Nyembe’s story is a reminder of the urgency of legislative intervention in the entertainment industry.
FEATURED IMAGE: Actress Nandi Nyembe. Photo: Actor Spaces/ Gabriel McCreadie
In this episode, “In South Africa our Land”, hosts Sechaba Molete and Lindelwa Khanyile are joined by Mihle Kunju, Law School Council Chairperson, for a conversation about the constitutional promise that “all shall be equal under the law.” While South Africa’s Constitution is celebrated as one of the most progressive in the world, the reality […]
