Social media can be a powerful catalyst for social movements has sparked revolution, amplifying voices for social justice and transformation.
Serving both as a reflection of societal values and a powerful tool for shaping public opinion and mobilising change, pop culture to me is the collective creativity and imagination that shapes my identity and influences my daily life.
From music and film to fashion and social media, pop culture also actively contributes to the evolution of social movements, often accelerating their impact and broadening their reach.
However, the advent of social media has really revolutionised the landscape of social movements in South Africa. Platforms like TikTok, Twitter, Facebook, and Instagram have provided new avenues for activism and engagement between citizens, influential figures, and government too.
Social media as an extension of pop culture has profoundly shaped how I speak, write and interact with people. It has introduced me to new words, phrases and expressions that I have adapted as part of my everyday vocabulary. From using common slang and interacting with memes, it has constantly been evolving and influencing my social life.
Every now and then, a new word or phrase explodes on TikTok. Suddenly, it’s all anyone can say. A relevant example is the current Tiktok trend started by Joolie Lebron of “very demure, very mindful”. This is because the trend has expanded my vocabulary, exposing me to the word as a synonym for modesty, something that would have likely remained unknown to me.
Another example of the power of social media in contemporary South African activism, was the #FeesMustFall movement, which began as a student-led protest against rising tuition fees is evidence of such power.
The singing at protests, livestreamed and tweeted updates and meetings, not only made the protests more visible but also underscored the cultural significance of the struggle. The movement, which gained momentum through online campaigns, brought thousands of students from behind the screens of their phones out onto the streets, leading to significant discussions and policy changes regarding higher education funding.
Similarly, social media has been instrumental in the #TotalShutDown movement, which seeks to addresses gender-based violence (GBV) and femicide. Digital platforms were used to organise protests, share survivors’ stories, and advocate for legislative changes. The ability to mobilise rapidly and engage a wide audience demonstrates the transformative potential of social media, the icon of pop culture, in driving social change.
While pop culture has proven its worth in society, it also faces challenges. The commercialisation of activism, where social issues are turned into marketable products or trends, can dilute the core messages of movements.
An example is how GBV and women equality is a serious social issue in the context of SA and so often, companies do not necessarily make active steps to address these issues but year in, year out they will go on these campaigns of 16 days of activism and about women’s month.
A recent example of this is the e-hailing service, bolt. In South Africa, bolt is infamous for drivers beating, kidnapping, raping and stabbing unsuspecting riders. Yet yearly, they always have a women’s day and a 16 days of activism campaign running. Promos are given to female clients during women’s month by bolt, yet the on-going violence between drivers and female passengers that have been reported are not addressed swiftly.
This commercialization can shift the focus from advocating for substantial policy changes and addressing systemic issues to merely capitalizing on a trendy cause.
Additionally, the rapid spread of information on social media can sometimes lead to misinformation or superficial engagement with complex issues.
Social media is a potent force in shaping social movements by amplifying marginalised voices, challenging societal norms, and promoting collective action. Its ability to engage large audiences and frame important issues in accessible ways makes it a crucial element of modern social movements.
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
The practice of architecture and art can oftentimes intertwine, and this exhibition used that fusion to express the intricacies of migration.
On Saturday, August 24, the Keyes Art Mile welcomed a panel of architects and artists to discuss their Narratives of Migration exhibition. Shared stories of migration, the artists’ relationships with the land and the world around them were explored through art and architecture.
The panel consisted of four women architects who had individual pieces in the exhibition. The exhibition opened on August 1, 2024, at Gallery 1 of Keyes Art Mile. The exhibition took pieces from the ‘Biennale Architettura 2023’ in Italy, where all four architects previously displayed their work.
The exhibition opened with renowned architect Kate Otten’s piece Threads which looked at the history of mineral extraction and mining in South Africa, leading to mass migration in the country and Southern Africa at large. The large, spiral structure was adorned with multi-colour pieces of thread and beads that each represented the different parts of the landscape, telling the story of how Johannesburg came to be.
Kate Otten’s Threads display, highlighting the mineral extraction in South Africa that led to mass migration. Photo: Kamogelo KungwaneGugulethu Mthembu’s installation at the Keyes Art Mile, expressing gender disparities in society. Photo: Kamogelo Kungwane
“Threads is a simultaneous telling of many stories, intuitive readings of landscapes and social geographies told through age-old traditions of craft and making, narrated by women,” she said about the project.
The second installation by Kgaugelo Lekalakala, was titled ‘Tales of the Vulnerability of African Women in Transit’. This photo and video piece explored how women’s bodies migrate between the spaces, from rural to urban, and how women can feel unseen and violated in all the spaces they migrate to.
She referenced the feeling of vulnerability in her piece and used her experiences of having to use long-drop toilets in her family’s rural home as a metaphor for that vulnerability. “This is just a space of how when you enter into this space, especially as a woman, you have to grapple with how you aim, how you place yourself and how you try to use this space,” she explained in the panel discussion.
The panel moderator and architects and artists who displayed their art. From left to right, Kgaugelo Lekalakala, Gloria Pavita, Gugulethu Mthembu and Kate Otten. Photo: Kamogelo KungwaneAn audience member at the exhibition asking a question to the panel. Photo: Kamogelo Kungwane
The exhibition continued with two more pieces by Gugulethu Mthembu and Gloria Pavita, with The Tale of Aicha Qandisha and na Bulongo [with soil] respectively.
Mthembu’s piece looked at redressing the legacies of female oppression, with direct reference to her experiences. She spoke of seeing the women in her life “shrink themselves” for the men in their lives while the men never did. Her large wooden structure with colourful projections and barbed wire was a comment on societal gender inequalities.
Pavita’s na Bulongo film piecetranslates to ‘with soil’ from Swahili, and it expresses ideas of reclamation and repair through soil. In the film, her time in her late grandmother’s garden as her first experience with architecture. The varied mounds of soil refer to soil as a connection between history, people and where they come from.
“We all keep returning to the places that we come from,” she said, at the panel.
This was a sterling showcase of artistry and a great look at the beauty of women’s work. The exhibition’s panel of accomplished architects and artists helped to drive home the stories of each piece. Narratives of Migration and Reclamation had its final showcase at the Keyes Art Mile on August 24.
FEATUED IMAGE: An audience seated at the Keyes Art Museum to listen to the panel discussion about the migration exhibition. Photo: Kamogelo Kungwane.
A compelling piece that takes the reader into the minds of South African serial killers through narrative psychology.
On Saturday, 17 August 2024, the Wits Origin Centre hosted the launch of a book titled Killer Stories written by psychologist Brin Hodgskiss and Nicole Engelbrecht, which uses the stories of serial killers to explore their psyche.
Hodgskiss interviewed several serial killers to tell their own version of events. He then applied the principles of narrative psychology to help the reader get a glimpse of how the individuals think, using his role as a psychologist to better understand them.
In his conversations with the serial killers, Hodgskiss learnt that the environment played a huge role in the way that these individuals turned out. He also noted that many of them had a misogynist outlook that made it difficult for him to bear and listen to.
While writing, Hodgskiss realized that “the role that was played by the stories I told myself about myself was part of the problem.” He added, “I noticed amongst all the serial murderers I spoke to was the power that their story has.” These stories that serial killers told to themselves about their place in the world “influenced the crimes they committed”.
Hodgskiss was joined by the curator of the Wits Origins Centre Dr Tammy Reynards and Wits academics Beth Amato and Dr Sahba Besharati who formed a panel to discuss crime, trauma, and healing in South Africa.
Speaking to the audience, Hodgskiss explained his journey prior to writing the book, stating that it all started when he was part of a team at Rhodes University that went to Grahamstown to help the police with identifying offenders. This led him to different maximum-security prisons, where he interviewed serial killers.
Nichole Engelbrecht, the host of True Crime South Africa, a victim-focused true crime podcast, invited Hodgskiss a guest on an episode after reading his research on ‘Lessons from serial murder in South Africa’. The two managed to maintain a relationship that resulted in them agreeing to write a book together which was completed in just nine months.
The book comes at a time where South Africa is experiencing a high crime index. According to South African Police Service statistical report for 2023/2024, there were 27, 368 recorded cases of murder, meaning that an average of 75 people were murdered every day in that period. The annual crime stats are due to be released next week, and one can only hope that a less chilling picture awaits.
Nevertheless, this book helps bring to the forefront that the lived experience of serial killers and their understanding of their role in society play a huge role in their destiny.
FEATURED IMAGE: Left to right: Brin Hodgskiss, Sahba Besharati & Beth Amato. Photo: Siyanda Mthethwa.
Sibusisiwe Manqele, a Wits alumnus, walks us through her journey as a prominent creative in the entertainment industry.
A powerful voice, creative vision and a vibrant personality are the qualities that make Sibusisiwe Gugu Manqele an innovative storyteller.
From doing voice-overs for numerous brands and writing scripts for popular South African TV shows such as Gomora, House of Zwide and currently Skeem Saam, Sibusisiwe continues to establish her as a prominent force in the industry.
Sibusisiwe grew up in Ulundi, Kwazulu-Natal which is where her love for storytelling began. Her upbringing involved long commutes from home to school with private scholar transport and the other passengers were her first storytelling audience.
“These were spaces for creating stories because we’d have 30 (minutes) plus commute when I wasn’t in boarding school, and they’ll just be stories. As kids you just find things to pass time and part of that is storytelling,” she said.
This passion for storytelling drove her to want to study at The School of Arts at Wits University. She applied for a Bachelor of Arts in Dramatic Arts (now known as Theatre and Performance), a position she had to audition for despite having no prior experience in drama. “I decided to adapt a novel that I was doing and it’s only now when I think about, oh my gosh, that was the writer in (me)”. This adaptation impressed the markers and got her into the programme.
Against the recommendations made by her course coordinators, Sibusisiwe also did Television and Film, which would often clash with Dramatic Arts classes. “My friend and I had this thought that, ‘No man, we can’t be waiting for acting. When acting is not moving we need to be behind the scenes’”.
Manqele found her first time at Wits as a journey that allowed her to understand the arts and provide her with a network of other creatives, especially as a person who did not have the same artistic background as her colleagues.
After completing her majors in 2012, she spent seven years in the industry trying to get into different types of entertainment, such as lifestyle and reality shows. In 2019, she decided to pursue an Honours Degree in Creative Writing at Wits University which she felt helped her get into more linear, fiction storytelling.
Sibusisiwe Manqele is more than just a script writer but also a businesswoman and innovator at heart. She is the founder of CONTENTWOOD, a production company which tells stories “That give voice to narratives that you don’t always see”, and a part of these narratives involve the empowerment of women.
The company’s first and only short film, Questions, was an experimental film taken from poetry, looks at mental health and the experiences of black women. Manqele had the privilege of presenting the film in Paris at the Communicating Multi-Modally: Research & Expressive Culture in May 2022.
Manqele has had an illustrious career which has been topped off by her being listed as one of Mail & Guardian’s Top 200 Women in South Africa in 2023. When asked to share wisdom for Witsies and aspiring creatives she shared that knowing oneself is the secret and beginning of all wisdom. “And then knowing what you have to give to the world and leveraging that and making the world a better place through that service.”
In a time where the second semester is starting to get the ground running, Wits students can look to Manqele as a beacon of hope for what’s to come from hard work.
FEATURED IMAGE: Sibusisiwe Gugu Manqele. Photo: Skinnie’s Gallery.
Here’s what to expect from airlines if your trips are ever forcefully put on hold, and how to arrive at your destination without too many battle scars.
Besides the obvious inconvenience caused by delayed and cancelled flights, the process of rebooking can be equally stressful . I was recently in this situation, and I couldn’t help but worry that making the wrong move, or taking too long figuring things out might leave me stranded in a foreign country. In this guide I will explain how not to make the same mistakes I did in my recent travels.
During the winter break, I went to visit my family in Italy and was meant to return on Sunday July 14, the day before third term. However, because of air traffic at Zürich Airport, I missed my connecting flight back to Johannesburg. Twelve hours of travel turned into sixty, and I only arrived on the morning of Wednesday July 17.
The suitcase, boarding pass and South African Passport I had with me all times during my delay. Photo: Tristan Monzeglio
In a situation like this, the first thing you should do – besides trying your best to keep calm – is understand your rights as a passenger. Depending on where in the world you’re flying and who regulates said region, you can expect differing forms of compensation if your travels are delayed for an extended period.
For example, according to Regulation (EC) No 261/2004, when flying from European Union (EU) countries, or with EU-based airline carriers, you’re entitled to between EUR 200 and EUR 600 in compensation. This depends on the distance of your flight, as well as if you can prove that your carrier was at fault for the delay, and not due to an “extraordinary circumstance”. Unfortunately, because of this legal loophole, my compensation is pending indefinitely.
Now that you know what you’re entitled to, ask a flight attendant where the nearest transfer desk is (there may also be an airport map you can download to help you navigate any winding corridors and sprawls of other lost passengers). Transfer desks are where you report your situation and request to be rebooked, if you haven’t been automatically rebooked by your carrier.
On that note, transfer desks are the worst part of any airport, only really serving frustrated travellers desperate to get home. Bickering, insults and profanity surrounded most of the transfer desks I encountered, as well as swells of queue-cutters and exasperated faces. I was automatically rebooked by my carrier, Swiss Air, but I still needed to find the transfer desk because I had mistakenly been re-routed to Johannesburg via John F. Kennedy International Airport in New York.
Thankfully, I instead ended up heading home via Addis Ababa, and arriving in Ethiopia was like a breath of fresh air in comparison to Zürich. The Swiss are notorious for their administrative ability, but, in my experience, the lack of organisation mixed with a widely shared superiority complex amongst many Swiss Air employees made my time in Zürich excessively grating.
My layover in Addis Ababa, however, was markedly more positive. Efficient and friendly service made the twelve hours spent in Ethiopia fly by. Ethiopian Airways have won best African airline seven years in a row and, in my experience, their attention to detail and care for their clients put Swiss Air to shame.
As confused travellers, there is a tendency to allow those who are in charge to dictate your experience. Following these steps may help you regain some semblance of control in the chaos that consumes all airports. Learning from my own missteps, I hope I have been able provide some guidance and respite to any other novice travellers who might feel lost or overwhelmed.
FEATURED IMAGE: Example of a Flight Information Display System (FIDS) in an airport. Photo: Adobe Stock
The inner-city housing crisis and the plight of the marginalized was in the spotlight in a powerful tale of humor and tragedy.
‘Kwa’Mnyamandawo’ is the seventh play by ‘Kwasha! Theatre Company’ which ran at Market Theatre from July 18-21, 2024.
It follows an investigative journalist named Penelope seeking to uncover the truth behind the housing crisis in Hillbrow through the help of a local tour guide. Her findings reveal a story of corruption and human neglect indicative of life in the inner city.
As one walked into the theatre, they were met by two walls with faded paint and exposed brick, one bearing the words ‘kwa’mnyamandawo’ or ‘the dark place’ spray-painted across it. Below, litter was scattered across the floor and a projector played real Eyewitness News coverage of a building fire in the background. This set the tone for what was expected to be a bleak telling of inner-city trauma.
Speaking to cast member Wenziyweyinkhosi Myeni, she says: “It’s about time that we start seeing stories we’ve never seen before. You may look at the buildings and the people that come from there and think their stories don’t need to be told, but those are the exact stories that need to be told!”
However, the hour that followed was anything but. As the lights dimmed and the projector cut, the audience’s silence was met by the harmonizing of the four-cast ensemble as the tour guide delivers a dispassionate sales pitch of Hillbrow. “Brothels and strip clubs make perfect for first dates!’” he proclaims to a snickering audience.
Dance and humour was a feature throughout Kwa’Mnyamandawo. Photo: Kabir Jugram
But the laughs would not end there. From the exaggeration of the swaggered walk of boys that don sporties (bucket hats) and studded earrings to the impersonation of rude yet clueless cops, the characters on display were caricatures of people we all know and see daily. Pair this with continuous choreography and melodies backing even the most mundane scene of daily routines of those in hijacked buildings, and daily life in the inner-city was splashed with colour.
Yet the consistent humour would not belittle the gravity of the play’s theme. As the play ends- after the police burn down an occupied hijacked building to conceal evidence of a syndicate – the lights dim, the actors turn to the projector and footage of real interviews with fire survivors plays, a reminder that the themes illustrated in the play are in fact a reality for many.
The play ends with real footage of a building fire being projected in the background. Photo: Kabir Jugram
Cast member Xhamla Samsam stated: “humour (is) the way of nursing the real wound that lies behind”. And that is exactly what this play is all about- using humour to make sense of trauma, the only way us South Africans know how. The result of this is a play that is complex yet digestible, relatable and unapologetic in its messaging.
Vuvu rating: 9/10
FEATURED IMAGE: The tour-guide and journalist engaged in argument. Photo: Kabir Jugram
Many traditions and cultures have subconsciously aided the wellbeing of one’s mind through music and sound.
A neurologist and music psychotherapist tackled the maze of the mind together on Saturday, May 18, 2024, at the Wits Origins Centre through a mental wellness and brain health seminar on International Museum Day.
Human brains have a potential that is unfathomable, and whilst people think we only use 10% of our brains at a time, they are mistaken.
Most of our brain is being used most of the time, even while sleeping, and over 85 billion neurons in our brains are always firing some sort of signal.
However, with all this brain power comes the largest emotional intelligence amongst all mammals. This EQ of humans is the area studied by neurologist and brain health specialist, Dr Kirti Ranchod, and music psychotherapist, Nsamu Moonga.
Music psychotherapist, Nsamu Moonga, leading the audience through a series of musical workshops to release their inner voice and learn to trust in a collective conscious. Photo: Victoria HillDr Kirti Ranchod during her seminar at the Origins Centre, speaking about all things brain health and wellness. Photo: Victoria Hill
Music is all around us — at birthdays, funerals, weddings, political rallies — and each scene sounds very different from the next, which is a subconscious understanding, Dr Ranchod explained.
Dr Ranchod said music is linked to both memory and emotion. When a person hears a specific song, they relive a specific experience, which leads to them feeling a specific emotion.
This is the basis from which Moonga bases his therapy techniques. He explained how humans forget things as a survival technique yet create rituals to ensure they do not forget what is important — the earth rotating completely around the sun, a human life ending, a life of two people beginning for instance.
Yet, Dr Ranchod said how music is exceptionally personal where one type of tune will relax someone whilst it will trigger another. .
To pay homage to International Museum Day, Dr Ranchod spoke about the San Trance Dance which is one of the earliest rituals known to date that used music to bind a group together.
The Trance Dance is a permanent feature at the Origins Centre — which traces human life back nearly two million years — because it sees the beginning of humans living in communities and activating their energies to connect with the spirit world.
With sound, rhythm, movement, and dance used to alter reality, shift consciousness, and change perception, this was the start of music therapy in practice.
Museums document the history we all share and allows for the interception of the past, present, and future. They allow us to understand who we are, where we come from and are the physical pallbearers of memory.
FEATURED IMAGE: Modern-day rock art as appearing in the Origins Centre to showcase how the past is still very much in the present. Photo: Victoria Hill
The local punk, rock, and metal scenes are bursting with talent, and international artists are beginning to take notice.
The suburb of Melville in Johannesburg is always buzzing and lively on weekends, drawing crowds from all corners of the city. On Friday, May 17, 2024, Melville was overtaken by punks and metalheads in crust pants and spikes, all coming to see the coolest show of the weekend, headlined by Matrak Attakk.
Matrak Attakk is a self-described ‘anarcha-feminist crust band’ (translation: really cool), hailing from Europe, but they fit right in at Smoking Kills, a beloved dive bar that sits at the heart of the local underground music scene. For as long as the bar has been open, it has been hosting up-and-coming bands of the hardcore sort, giving them a space to be creative and an enthusiastic audience to perform for.
Matrak Attakk were joined on the lineup by some of the best bands the scene has to offer currently. Lefokolodi was one of these acts, and for good reason; they are a spectacular quartet and seeing them perform is a fully physical experience. Lefokolodi brings a crowd of strangers together instantly, screaming and moshing with such vibrant energy that the room overflows with it. Their lead vocalist, Lerato, oozes showmanship and flair with his breakdancing and crowd surfing; seeing them perform their latest single, “Disillusioned,” was a highlight of the night.
The crowd watching Lefokolodi.
Lerato performing for the audience.
The crowd at Smoking Kills on May 17, 2024.
If you’re not a fan of politics, then punk isn’t the genre for you, but on the day, likeminded individuals got to share their thoughts in a space that actively champions community and solidarity. Bands like Mean Girls embody this; they have given the profits from merch sales to solidarity organisations, played shows celebrating youth day in South Africa, and written songs about anti-imperialism and feminism. Their popularity in the scene shows how much their message resonates with young people, but also stems from their musical finesse and talent.
Matrak Attakk took to the stage just past midnight and were easily the loudest band of the night. Their lead vocalist, Cristina, has a ferocious and intimidating scream, but her speaking voice between songs was soft and kind. She profusely thanked the audience for being so receptive, and said the South African scene has a lot to teach the European punk community. Being able to tackle subjects like racism, imperialism and colonization is all part of this specific music scene, and South African punks do it phenomenally, she said.
Matrak Attakk headed up to Pretoria on Saturday evening to perform and came back down to Soweto for a show on Sunday. On the weekend of May 24 and 25, 2024, they will be performing in Cape Town and Stellenbosch. This tour shows just how widespread the love for punk is here, and just how eager international acts are to explore every corner of our burgeoning little scene. Though the underground scene is far from being a profitable giant like other South African music genres, it is fierce, raw, and real.
FEATURED IMAGE: Lead vocalist of Matrak Attakk, Cristina, performs at Smoking Kills. Photo: Ruby Delahunt
The story of Isiphosethu in Ungubani sheds light on the divine powers of ancestors, and the importance of knowing your roots as an African.
The play follows Isiphosethu, a rightful royal queen summoned home by destiny. Raised in Johannesburg, she is haunted by recurring ancestral dreams urging her to return to where her inkaba (umbilical cord) lies buried.
Aphelele Sidelo, a member of the cast and writer of the play says, “This play aims to remind people of the importance of intsomi as it was used by our grandparents to tell stories with the essence of moral teaching.”
The play took place at the Emakhaya Theatre atWits Art Museum) on April 29, 2024, in front of a jam packed audience.
The cast incorporated emotional traditional isiXhosa poetry, music, and intsomi (tales) into experimental theatre. The play opened with a powerful Isixhosa chant as Isiphosethu embarked on her journey to the longed-for village.
Isiphosethu starring at her aunt Nofesti in shock . Photo: Salim Nkosi
Despite not being familiar with the language, it was remarkable how the cast ensured that their message was effectively conveyed to the spectators through expressive body language.
Director and composer, Mandipumle Nokonya told to Wits Vuvuzela that “the language barrier was a major hurdle since some cast members weren’t Xhosa speakers. They trained extensively to preserve the play’s theme.” Watching, one would have assumed they were all native isiXhosa speakers, a testament to their talent and dedication.
In the play, Isizwe Samanqosi, a rural village in the Eastern Cape, is governed by the malevolent Queen Nofesti. She killed her sibling Nomadubazana, the rightful queen, and ordered her brother Zwelakhe to murder Nomadubazana’s newborn, Isiphosetthu.
Nofesti did not know that Isiphosethu was not killed and was taken to Johannesburg by her uncle. She was ruling the village against the will of the family’s ancestors.
Her use of vulgar and profane language, revealed the type of a person she was, which envoked feelings of resentment amongst those on stage in the audience alike. I saw her as an evil dictator, she showed the characteristics of a nowadays selfish politician.
Upon arriving in the village, Isiphosethu encounters her uncle and pivotal figures who guide her journey. Eventually, she attends a royal meeting called by Nofesti, where her identity is unveiled, unraveling her entire life story.
This was a cringe moment, the scene was chaotic and very emotional, and it revealed how greed and power can turn people against their loved ones. Signifying the pursuit of self-interest at the expense of others.
The village faced grave danger as Nofesti, an arrogant witch, disregarded the pleas of her people, using her powers to suppress opposition. This illustrates the consequences of undeserving authority.
Isiphosethu’s arrival rescued the villagers, leading to Nofesti’s downfall at the hands of the oppressed community. The rightful queen assumed her throne, and the play concluded with Queen Siphosethu’s marriage and the village rejoicing in their newfound freedom.
Isiphosethu getting proposed to. Photo: Salim Nkosi
The performance left an indelible mark, while the singing and clapping in the house were memorable, it’s the importance of feeling like you belong, a constant guiding light in life’s twists and turns that will stay with me.
Vuvu rating: 8/10
Featured image: The villagers of Isizwe Samanqosi grieving their struggles. Photo: Salim Nkosi
Students live in Joburg, yet they hardly experience the city; here’s budget-friendly guide to places to help let loose and fall in love with the city of gold.
The University of the Witwatersrand is situated in the heart of Joburg’s CBD, with students from all over the world who enter its door. However, students, especially the ones that are novices to the area, do not know what is beyond the perimeter of their place of study — missing out on exciting spots to visit in the city.
Other students miss out as they get caught up in the hustle and bustle of city life and forget what is around them.
As today is National Tourism Day, which serves to commemorate all the aspects that contribute to a country’s travel and tourism allure; Wits Vuvuzela compiled a list of tourist attractions that students can try in celebration of the day.
The tourism sector took a beating during the Covid-19 pandemic, but it is currently picking up. According to Stats SA, the volume of tourist arrivals increased by 152,6% from 2,2 million in 2021 to 5,6 million in 2022. The statistics agency explained that the national gradual improvement was observed in the number of tourists arrivals from January to December 2022; however, it is still 44,3% below the pre-pandemic year of 2019.
Looking closer at the numbers, of the 5,5 million tourists in South Africa in 2022, 0,7% are students in the country, 4,7% are from other African countries, and 0,1% are international.
Beyond this, the sector is amongst the biggest contributors to GDP in the country.
Thus, one can see how tourism is a necessary sector in South Africa with predominant hotspots in Johannesburg, Cape Town, and Durban. Luckily for Wits students, they have the best tourist places within their fingertips.
An eagle’s eye view of Johannesburg showing bustling traffic and the hidden gems the city has to offer. Photo: Victoria Hill
Tourist hubs are made up of historical, cultural, environmental, and social aspects, which students can choose from. They also vary on a scale of affordability, which is vital to consider as students are always looking for fun outings that do not break the bank.
Under R100:
1. Wits Art Museum
2. Wits Origins Centre
3. Johannesburg Botanical Gardens
4. Walter Sisulu National Botanical Gardens
5. The Wilds Nature Reserve
6. Constitution Hill
7. South African National Museum of Military History
8. Johannesburg Zoo
9. Lindfield Victorian House Museum
10. James Hall Museum of Transport
11. Adventure Golf [one game = R36,67]
12. Sci-Bono Discovery Centre
Between R100-R200:
13. Apartheid Museum
14. Montecasino Bird Gardens
15. Multiflora Flower Market
16. Ice-skating
Between R200-R300:
17. 44 Stanley
18. Gold Reef City Theme Park
19. Maboneng Precinct
20. Melville
21. Parktown 4th Avenue
22. Illovo Muse
23. Rosebank Rooftop Market
24. Fourway’s Farmers Market
25. Neighbour Goods Market
26. Victoria Yards
27. Hashtag Escape
Independent ticket pricing:
28. Joburg Theatre
29. Wits Theatre Complex
30. Wits Chris Seabrooke Music Hall
No matter if you want to go from zero to one hundred, Johannesburg will always have something in store for you. These are just a few tourist attractions near or surrounding Wits University, but if you want an adventure beyond these borders, a road trip is always worth it.
Watch a Google Earth deep dive into each location:
FEATURED IMAGE: The skyline of Johannesburg as seen from the Wits Art Museum building’s 20th floor. Photo: Victoria Hill
Various students came together on campus to celebrate 30 years of democracy in South Africa through song with a chance to win R10,000.
On Wednesday, May 1, a diverse crowd of students filled the Amphitheatre at Wits University — under the open sky — as they were eager to witness performances of various struggle songs, performed at the Gwijo Competition hosted by the EFFSC.
Ernest Oppenheimer Halls group rendering an item. Photo: Lona Sokanyile
The purpose of the Gwijo Competition was to give young people an opportunity to express what 30 years of democracy means to them through songs; and to encourage youth political activism. The stakes were high, but it was the passion for expression that truly ignited the stage.
Amidst the cheers and applause, four groups stood poised to captivate the audience: Ernest Oppenheimer Halls (EOH), Knockando, Amani, and the Radius Club. Their voices rose in harmony, carrying melodies which echoed the struggles and triumphs of those who fought for freedom. From the anthems of the past to the cries of the present, each chant resonated with a profound sense of purpose.
As the contestants poured their hearts into each lyric, the audience became more than mere spectators —they became participants in a shared experience of unity and inclusivity. Harmonious voices mingled in a symphony of solidarity, transcending barriers of class and creed. It was not just the contestants who stole the show; it was the spontaneous moments of connection that truly stole the hearts of all people present.
The panelist of judges included Tebego Sako, a UFS alumni and currently a Wits law student, Koketso Poho a musician who is part of the Joburg jazz band iPhupho L’ka Biko, Wits SRC deputy secretary general Dineo Koetepe and Majola Majola a musician, song writer and UKZN economics student.
As an attendee, I was swept away by the energy and enthusiasm that permeated the amphitheatre. In the rhythmic pulse of the chants, I found a common thread bounding us all together—a reminder that in the face of adversity, our voices can empower.
The Radius club emerged victorious winning the competition. While only one group could claim victory, it was clear that the true triumph lay in the collective spirit of togetherness which filled the air that evening.
The winning res group Radius Club performing. Photo: Lona Sokanyile
The Gwijo Competition was not just a celebration of song; it was a celebration of the human spirit, a testament to the enduring legacy of unity and diversity.
FEATURED IMAGE: Wits Students at the Amphitheatre during the competition. Photo: Lona Sokanyile
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