After years of working toward a Varsity Football final on unfamiliar soil, Wits Women will finally enjoy home-ground advantage.
Wits Women host Varsity Football at home for the first time.
The team is determined to reach the final.
Matches will take place at Wits Football Stadium on August 8 and 9 before the final on August 19.
Wits University will host Varsity Football women’s fixtures for the first time on August 8 and 9, giving the team a home-ground advantage as they look to reach their first Varsity Football final.
The team opens the tournament with two matches in Pretoria on August 1 and 2 before returning to Johannesburg to host the second bumper weekend. The final is scheduled for August 19.
This opportunity comes as Varsity Football introduces a new bumper weekend format, allowing teams to play two matches before a longer recovery period ahead of the final. Hosting rights are also a first for the Wits women’s football team.
“There had been a rotation, and Varsity Sports opened it to numerous institutions that qualified. We raised our hand, and fortunately Wits will host the second bumper weekend,” said Phuthego Mokgethi, Sports Officer for Football.
Aside from reducing travel, Mokgethi believes hosting will give Wits a competitive edge.
Coach Siphesihle Ngalmane agreed: “We’ve always been knocked out in the semi-finals. This year we want to play in the final, and we’re hoping the final will be here at home.”
The fixtures for the 2026 Varsity Football Women’s tournament on display. Photo: Asisipho Mpahleni
Captain Nthabiseng Ramaisa believes playing in front of Wits supporters could make all the difference.
“It’s not easy playing away,” she said. “Having supporters here is exciting because when we’re away, it’s hard for Wits to organise buses for people to come and watch us.”
She added that away matches often come with added pressure from opposition fans.
“When you get there, people start booing you.”
Ramaisa believes the growing support for the women’s team could inspire more young women to get involved in football.
“More girls can get into soccer, and more girls can participate in sport,” she said.
For first-year player Nokubonga Msimango, the chance to play Varsity Football at home still feels surreal.
“There’s like a superpower playing at home,” she said. “You want to make people proud.”
FEATURED IMAGE: Cheerleaders welcoming the Wits women’s football team at the official launch of the 2026 Varsity Football tournament. Photo: Asisipho Mpahleni
Amidst the chaos of Johannesburg’s traffic intersections, Robots follows Gift, a street performer who turns red-light pauses into moments of joy.
As the lights turn to red, Gift – also known as Marshmallows – steps onto his stage. On Johannesburg’s streets, traffic light intersections become his theatre. There he juggles, unicycles and performs his signature ‘headless man’ act, turning the pause in traffic into a few moments of entertainment, before the lights flicker back to green.
Directed by Yaseen J.Khan, Robots is an insightful, funny and moving portrait of livelihood and perseverance. At its centre is Gift, a charismatic personality who performs at intersections for strangers. Yet beneath the laughter lies a layered story of fatherhood, struggle and resilience. His perspective on life makes you laugh one moment and cry the next.
Gift is a hustler, an entertainer and a man who balances this alongside his role as a husband, father, and friend. His complexity challenges stereotypes about street artists. At first, Gift is presented as joyful and always smiling, but the film asks its audience to look deeper and challenge their own assumptions. Robots is more than a portrait of one man; it is a wake-up call, recognising the overlooked creativity of those trying to make a living and build better lives for themselves and their families.
The documentary itself was self-funded and took three years to complete. At a July 26 screening held at the Bioscope Independent Cinema in Johannesburg, filmmaker Khan was joined by DOP Kirsten Rose and producer Kopedi Aphane to discuss the project’s origins, explaining that it all began with curiosity: “These are people we see every day, but beyond that we don’t know what is happening behind the scenes.”
Cameras were introduced only after conversations and mutual trust-building. As Khan reflected, “We could only tell as much as he wanted to reveal.” Over time the story evolved; Gift developed from subject to collaborator and friend, guiding the filmmakers into spaces others might have avoided, sharing his health diagnosis, financial struggles and hopes for permanent work. The process reshaped the filmmakers themselves, who later wrote, “as filmmakers, this documentary changed our own perspectives about poverty and resilience.”
The editing moves seamlessly between vibrant energetic scenes, to quiet moments of reflection, accompanied by music that mirrors Gift’s changing moods. An upbeat score, including the crashing of cymbals, adds a ‘showbiz’ flair to the street performance. The rhythm makes you laugh, then suddenly brings tears as the pace slows.
Intimacy is the film’s strength because you can feel the connection to Gift not only as a performer, but as a person. Camera points of view through car windows, amidst the chaos of traffic, and then inside his family home with his wife and two children, all offer unique insight into his life.
He moves between that home and the space under the bridge. His smile feels like a quiet act of defiance. Even when motorists do not reward him, he finds joy in their reactions, saying that he loves to see people smiling, “even if you give nothing, just your smile”.
Khan hopes to leave the audience with conversations that will carry beyond the screen.Robotschallenges assumptions about people at traffic intersections. The film is insightful and funny, emotional yet hopeful. It made me appreciate life and see street performers in an entirely new light. Gift’s story shows the power of performance to connect strangers, even if only for the length of a red light.
FEATURED IMAGE: Robots poster. Photo: Supplied/The Bioscope
June 16 marks Youth Day in South Africa, commemorating the 1976 Soweto Uprising. Fifty years ago, thousands of primary and high school pupils marched against the apartheid government’s imposition of Afrikaans as the medium of instruction. What began as a peaceful protest, which was meant to end at Orlando Stadium with a rally, was cut short on the way when police opened fire, killing hundreds of students.
On June 16, 2026, hundreds of people, including university students and members of civil society, gathered in Soweto to retrace the original route and “finish what was started”. The march honoured the courage of the 1976 generation and stands as a reminder that their fight for freedom and justice continues to inspire South Africa’s youth today.
Opening speeches before the march. Photo: Hannah Brown
Youth walking through Soweto. Photo: Hannah Brown
March to “finish what was started”. Photo: Hannah Brown
Youth Day March. Photo: Hannah Brown
Youth Day – commemorating the 1976 Soweto Uprising. Photo: Hannah Brown
‘We are what was dreamed’ poster. Photo: Hannah Brown
In 1976, black students bravely marched against the apartheid government. Photo: Hannah Brown
Marching toward Orlando Stadium. Photo: Hannah Brown
FEATURED IMAGE: Opening speeches before the march on June 16, 2026. Photo: Hannah Brown
The Atlas of Uncertainty offers a profound perspective on African migration, redefining our understanding of belonging.
Atlas of Uncertainty opens at Wits Origins Centre.
Various artists, writers and researchers celebrated their work during the opening ceremony.
The exhibition holds significance in today’s divided society.
Picture of papier-mâché boat sculpture entitled ‘Mashuna and Hakuna nija’ by artist Onys Martin. Photo: Jamie Ho.
The Atlas of Uncertainty exhibition opened at the Wits Origins Centre on Saturday, April 18, inviting visitors to question the current agenda around migration, urbanisation and belonging in Africa.
From a paper-mâché boat constructed from receipts to a woven tapestry stitched with burlap, the exhibition offers a more humanising lens for viewing the global phenomenon of mobility: not as burdensome, but as inherent to humanity.
Rooted in three African cities, Johannesburg, Accra, and Nairobi, the Atlas looks beyond the borders that divide us. Migration researcher Loren B. Landau highlights that the current scholarship neglects to capture the complexities of Africa, thereby revealing a need to move “from the counting to the feeling; from the census to the senses.”
To understand the vast complexities that define the continent, the Atlas is not only working across borders, but across different media, disciplines, platforms and ways of thinking. Urban sociologist Caroline Wanjiku Kihato explains that this “lets different ways of knowing sit alongside one another, without forcing them into a single voice.”
The Atlas of Uncertainty is a powerful revision of how we understand African cities. It uproots mainstream narratives surrounding migration, opening the space up for uncomfortable yet necessary conversations.
Spatial practitioner, Carina Kanbi provides some insight into the actual making of the project and how its themes of migratory politics were mirrored over the course of its conception.
Going all the way back to 2023, when the project first began, she notes challenges faced by the artists working across borders, not only in physically transporting the works, but also in handling bureaucratic restrictions between countries. “The exhibition did not begin this morning,” she explains. “It very much began in transit.”
And staying true to this theme of mobility, the Atlas will remain a piece of art that will remain in perpetual movement. While it is on exhibition until July 3 at the Origins Centre, it is also planned to showcase in Accra and Nairobi in 2027.
Each piece of the Atlas reverberates with the passion of its creators. Each tassel holds weight.
Each shard aches with feeling. As the cracks of division deepen in our world, the value of this exhibit lies not only in its ability to challenge the status quo, but in its ability to reach where data and statistics cannot, to reconnect with our ability to be human.
Close-up of artwork titled ‘I am the Graffiti on the Cracked Wall‘ by Windybrow Arts Centre. Photo: Jamie Ho.Picture of ‘Strangers and Spaces’ by Austine Adika. Photo: Jamie Ho.Close-up of ‘A Map of Dreams and Realities’ by Billie McTernan. Photo: Jamie Ho.
FEATURED IMAGE: Picture of artwork titled ‘When We Travel, Where Do We Settle?” by Wezile Harmans. Photo: Jamie Ho.
Main Street in Johannesburg transformed into a car-free zone, inviting people to take back the city centre through art, community, cycling and music.
Johannesburg reimagined its city centre, as Main Street closed to cars and reclaimed by the people.
Music, art, cycling and children’s activities filled the streets, creating a sense of community, safety and connection.
Inspired by cities globally, Main Street Sundays is part of an experiment to revitalise the city .
On Sunday, April 12, Johannesburg reimagined how we can experience the city. What is usually jammed with traffic, became a space for walking, cycling, art and connection. The initiative was led by Jozi My Jozi in partnership with Young Urbanists. For one full day Main Street in Marshalltown was closed to motor vehicles and belonged to the people.
There was something happening on every corner. Music played, book clubs met in the open, art filled the streets, people skated, played games and searched the stalls. It was more than just a street closure, it was a reclaiming of public space from cars.
“Our mission is to bring people back to the city,” said Jozi My Jozi Education Workstream Coordinator, Senty Maphosa. “Let’s relove, let’s reimagine what the city could look like.”
Globally, cars dominate 80% of public space. But as Thandile Manyifolo, BA Architecture Student and Deputy Chairperson of the Jozi My Jozi Chapter at Wits University reminds us, “urban spaces were designed for people to live in. If people come secondary to that, are they really fulfilling their purpose?”
Organisers emphasised that reclaiming the streets is not just about daytime activities but also creating more opportunities and innovation for young people into the evenings.
The event offered a glimpse into how urban space can return to being people centric. Children played freely, with a programme created in partnership with Play Africa, the day included interactive learning activities, face painting, chalk art, sports and a gallery.
People felt at ease, walking around taking photos on their phones, dancing and laughing. There was a sense of belonging. “Today is all about community, it’s all about collaboration and it’s all about bringing back a sense of pride and inspiring people,” said Maphosa.
Jozi My Jozi is reimagining Joburg’s CBD. Photo: Hannah BrownA game of table tennis is held on the street. Photo: Hannah BrownKids area in partnership with Play Africa. Photo: Hannah BrownAs Main Street closed to cars, cyclists rode through the CBD. Photo: Hannah BrownA music group performs at the event. Photo: Hannah BrownSkateboarders took to the city streets, performing tricks. Photo: Hannah BrownVisitors play a game of foosball. Photo: Hannah BrownJozi My Jozi signs during Main Street Sundays. Photo: Hannah Brown
Inspired by cities including Bogotá, Paris and Cape Town’s Bree Street. The event is part of a larger experiment to revitalise the city, reimagine the use of urban space and see what happens when streets are closed to cars and given to pedestrians.
For Johannesburg, Main Street Sundays was the first of what many hope will become a regular event. “We are starting something that will have a domino effect in the long term to open up the streets of Jozi, not just Main Street, but the entirety of the city,” said Manyifolo.
It showed us what Joburg can feel like, where the city is not just a place to quickly pass through, but one where we can come together, connect and move safely.
FEATURED IMAGE: Cyclist from the Sentech Croozers rides a stance bike at Main Street Sundays. Photo: Hannah Brown
Anglo American, African Rainbow Minerals, and Oppenheimer Memorial Trust donate millions but is it philanthropy or power play?
Mining-linked donations are funding new buildings and research at Wits University.
Some students and experts worry these gifts give companies too much influence.
The debate is growing over who controls public universities and whose values are reflected.
What do Duncan Wanblad, Patrice Motsepe and Nicky Oppenheimer have in common? They represent corporate interests that have embedded themselves into the heart of Wits University. With millions tied to South Africa’s contested mining industry, these power players are funding high-profile projects that promise innovation and progress.
Oppenheimer’s family trust committed R15 million over five years to fund the African Future Studies Initiative, Motsepe’s African Rainbow Minerals (ARM) sponsored R20 million into research for the engineering school, and under Wanblad’s leadership, Anglo American spent R90 million to transform Wits’ planetarium into the corporate-branded Digital Dome. Their philanthropy raises a pressing question: When mining companies fund public universities, do academics look through a telescope or a company lens?
The uncomfortable truth
Behind the gleaming new facilities and bold promises lies an uncomfortable truth – corporate donations to universities are not always neutral acts of generosity. The Oppenheimer family made their fortune from diamond mines that fuelled colonial exploitation. Just last month, ARM faced protests over claims it sold coal to Israel, GroundUp reported. Anglo American, on the other hand, promotes sustainability goals while remaining one of the world’s biggest coal producers, according to its website. These companies pour millions into the institution while their mines keep digging. Do they shape the future or protect a violent and extractive past?
The Wits African Rainbow Minerals Building, renamed in 2023 after a R20 million donation from one of South Africa’s largest mining companies. Photo: Rivaldo Jantjies
What’s given?
Headquartered in the economic hub of London with a secondary listing on the Johannesburg Stock Exchange, Anglo American’s R90 million commitments granted the company naming rights to the new digital dome that opened to the public early this year, placing its brand at the centre of a major academic and public institution. In 2024, the company was ranked 654th on the Forbes Global 2000 list of the world’s largest companies.
Speaking about their shared legacy of advancing both mining and education, which has shaped Johannesburg and South Africa, Anglo American South Africa said, “The relationship between Wits University and Anglo American started in 1896 when the university, then known as the South African School of Mines in Kimberley, offered services to De Beers.
The new Wits Anglo American Digital Dome is more than just a facility – it’s a symbol of what’s possible when we unite in our vision to shape a better future through education, technology and innovation.” At the same time, Professor Zeblon Vilakazi (FRS), Vice-Chancellor and Principal of Wits University, told Wits News: “Through the Wits Anglo American Digital Dome, we hope to continue inspiring people from various disciplines, including those working in climate modelling, artificial intelligence and the digital arts.”
The Wits Anglo American Digital Dome, unveiled in 2024, was funded through a R90 million donation from the mining giant. Photo: Rivaldo Jantjies
In 2023, Wits University announced a partnership with one of the nation’s leading coal suppliers, African Rainbow Minerals. The JSE-listed corporation’s R20 million endowment is backing research that connects mining to the future — exploring energy transitions, automation, and the digital technologies that are transforming how resources are extracted and utilised. This partnership saw the company replace the then Chamber of Mines Building on the Braamfontein West Campus, facing the M1 highway, renaming it to the Wits African Rainbow Minerals Building. ARM selected Wits University for this partnership because “it is one of the globally respected academic institutions and the home of the Mining Precinct, a key hub where industry leaders can engage and ensure the mining sector’s contributions are recognised by both students and the broader academic community,” ARM said in a statement.
Plaque outside the Wits African Rainbow Minerals Building, unveiled in 2023 to mark the renaming of the former Chamber of Mines Building following ARM’s donation. Photo: Rivaldo Jantjies
In the third quarter of 2021, the Oppenheimer Memorial Trust (OMT) donated R15 million to the African Future Studies Initiative at Wits University. The partnership was announced as a five-year commitment to support university research focused on challenges in Africa. The OMT was founded in 1957 by Harry Oppenheimer to honour his father, Ernst Oppenheimer. The memorial trust, established by the Oppenheimer family, is connected to Nicky Oppenheimer — the family’s heir and Africa’s third-richest person, with a net worth of $10.5 billion, according to Forbes’ real-time billionaire rankings.
At the time of the announcement, Tracey Webster, Chief Executive Officer of OMT, told Wits News, “The Oppenheimer Memorial Trust has a long tradition of investing in higher education and building the local academy. Given the ever-changing context we live in, it is imperative that we focus on developing a generation of researchers, scientists and academics that will ensure South Africa remains competitive and relevant in the 21st Century.” These contributions follow earlier markers of the family’s legacy at the university, including the Ernest Oppenheimer Hall of Residence, established in 1967, and the Oppenheimer Life Sciences Building. The trust did not respond to a request for comment from Wits Vuvuzela.
This bar graph shows the value of donations made to Wits University by major mining-linked donors between 2021 and 2024, highlighting contributions from the Oppenheimer Memorial Trust, African Rainbow Minerals, and Anglo American. Graphic: Rivaldo Jantjies
Who Really Benefits from University Donations?
Professor Imraan Valodia, Professor of Economics, Pro Vice-Chancellor of Climate, Sustainability and Inequality, and Director of the Southern Centre for Inequality Studies at Wits, said donations to universities often come with multiple motivations. Some alumni give because they benefited from the education they received. Others do it for tax reasons or because they want their names attached to buildings or projects. “A third reason may be the companies that have benefited from having a university related to their business feel that they need to contribute to that university,” he said, pointing to the long-standing relationship between Wits and the mining sector.
While this funding can support important academic work and help students, it also raises questions about influence. “There is of course, always a danger that by accepting these sorts of donations, universities may become beholden to these wealthy people’s interests,” Valodia explained. He noted that Wits has a Naming Policy to guide how donations are handled and believes that the university’s academic and management decisions remain independent. However, he warns that the risks are real, especially when donors or even governments try to shape what universities teach or research. This is now playing out in the United States, where debates at Harvard and Columbia University highlight how both private and political interests can pressure universities.
Tlhompo Thogomusi, a fourth-year LLB student and chairperson of the Wits EFF Student Command, sees these donations as more than just financial support. He argues that philanthropy from mining magnates is “a form of tokenism,” used to legitimise their power and wealth while “distracting from the exploitative nature of their business practices.” For Thogomusi, this isn’t just about naming rights — it’s about the consolidation of class power and ideological control. “Exploitation is a fundamental aspect of this relationship,” he says, suggesting that the financial support from powerful donors helps shape the university’s intellectual space and may even silence criticism. In this view, such relationships are not neutral; they reflect the broader struggle over who gets to shape public knowledge and values.
Inside the Wits Anglo American Digital Dome, launched in 2024. Photo: Rivaldo Jantjies
Living with it
The deals are signed in boardrooms, but the consequences play out in lecture halls. For many students, the university’s partnerships with mining giants aren’t abstract — they are part of daily life. Walking past buildings named after billionaires whose wealth came from extractive industries feels jarring, especially for students from communities affected by mining. According to a student who asked to remain anonymous, “It’s hard to sit in a lecture about inequality in a building named after someone who profited from it.” The university’s efforts to position itself as a future-facing institution are complicated by a past — and present — that many students are still reckoning with.
The money flows in, new buildings fill the skyline, and the questions keep piling up. In a city built on the profits of mining, the past still casts a long shadow. As universities align with major industry players, students and academics are left wondering who really shapes the future, and who pays the price.
FEATURED IMAGE: The Oppenheimer Life Sciences Building at Wits University, named after one of South Africa’s most prominent mining families. Photo: Rivaldo Jantjies
The university acknowledges that “a graduation ceremony is a major life event and we understand that many graduands were disappointed by the events that transpired”.
Wits moves to a cloud software that can host the full scope of the university community using the platform at once, without strain, that offers a modern, easy-to-use interface.
Since her announcement as the Democratic Alliance’s mayoral candidate for Johannesburg, Helen Zille has dominated national headlines. In this bonus episode of We Should Be Writing podcast, hosts Lulah Mapiye and Bonolo Mokonoto dissect a media meet-and-greet with the mayoral hopeful. From her extensive political résumé to her controversial public utterance, we examine why the Democratic Alliance has chosen Hellen Zille as their candidate for the 2027 local mayoral elections. Additionally, […]
