Wits University academic confronts the ongoing dispossession of Black communities in post-apartheid South Africa in new book.
Growing up under the shadow of stark inequality, Dr. Dineo Skosana developed a lifelong commitment to understanding and challenging the historical forces that shaped them. Now a lecturer in politics and researcher at the Society, Work and Politics Institute (SWOP) at Wits University, she weaves her academic and activist role around the themes of land, memory and social justice.
These are not just abstract ideas in her work, they are rooted in South Africa’s contemporary reality. “There’s a dangerous and growing discourse that says Black people don’t need land back, just jobs,” she says.
Dr. Dineo Skosana. Photo: Supplied
For Skosana, this narrative is both ahistorical and harmful. Her work consistently pushes back against such distortions, asserting that land is not only an economic asset but also a site of identity, heritage, and spiritual connection.
In her newly released book, No Last Place to Rest: Coal Mining and Dispossession in South Africa, Dr. Skosana reveals how coal extraction continues to dispossess Black communities, not just physically, but spiritually. “Dispossession is a continuing lived experience,” she explains. As South Africa faces both an energy crisis and an unresolved land reform debate, her book arrives at a crucial moment. It challenges whose knowledge and experiences are centred in national policy and how we define the meaning of land.
As a Black academic working in a historically white-dominated institution, Skosana has had to navigate systemic barriers. When she first entered Wits as a student, there were few Black South African lecturers. “Academia was associated with whiteness,” she recalls.
That legacy, she says, still lingers. “Many of us are challenging this,” she says. Urging senior African scholars to mentor emerging academics rather than gatekeep. “To bask in the company of European scholars can’t be our measure of success. We must build legacies with our communities and younger Black scholars.”
Her teaching is deeply informed by her research and by the knowledge of African communities themselves, co-producers of the insights she brings into the classroom. “Understanding the correlation between research and teaching maintains the integrity of what I teach,” she says.
Dr. Skosana’s journey is a reminder that academic spaces can be sites of resistance, and that knowledge especially when grounded in lived experience, remains a powerful tool for justice.
FEATURED IMAGE: Photo of No Last Place to Rest: Coal Mining and Dispossession in South Africa book. Photo: Supplied by Dr. Skosana
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
In a country where government controlled electricity supply is often unreliable, Asiphe Nhleko’s water-powered generator offers a sustainable alternative.
Wits student invents a water-powered generator.
Nhleko is supported by Wits to continue breaking barriers and being a champion for innovation.
The generator could power mines, households and businesses.
Asiphe Nhleko is a second-year Mining Engineering student at Wits University. She came up with Hydrogen, which is a water-powered generator. It is registered under her company, Innovation for a Sustainable Future.
The idea for the generator came to Nhleko when her mother got sick and needed support at home. At the time, electricity was one of their biggest costs.
“What makes our generator unique is that it only requires a small amount of water to start, and once it begins, it continues generating power without stopping,” said Nhleko
Nhleko needed to ensure that the generator could operate for a long period of time, as she stays far from home. When she goes home, she can refill the generator, and the process continues.
Nhleko is unable to share more operational details regarding the project. She is currently in the process of registering for Intellectual Property (IP), ensuring that her work is legally recognised and safeguarded.
While the idea came to Nhleko easily, building the prototype was not in her skill set. So she consulted her friend Musa Molefe, who has no tertiary education background. “He is so talented in terms of his technical skills,” said Nhleko. “I know that whatever that I say he can make it, with his hands,” said Nhleko.
After telling her mentor, Isaiah Chiraira (25), studying a Master’s in Electrical Engineering at Wits, about the project, he encouraged her to proceed. He helped to do the electronics and 3D modelling of the generator and helped in securing funding.
“Everyone at the engineering school has been incredibly supportive. They believe in the idea, some have even helped by conducting research for me. I had the innovation, the concept, but not all the solid research to back it up,” said Asiphe.
Asiphe believes her project has the potential to assist with the energy crisis in South Africa. She mentions that the project is beneficial, as it can power basic household items. Her main goal is to target the mining industry. “It’s millions that are spent per day on electricity in the mine[s], to power machines and just to power the mining plant[s],” Nhleko said.
Asiphe Nhleko is ambitious, with a clear vision for herself and her project. She says, “In the next five years, I see myself as a successful entrepreneur… I believe that us as young minds have all the solutions to the world’s problems.”
FEATURED IMAGE: A profile photo of Asiphe Nhleko: Supplied/Luphumlo Golela
The first Obiter Lounge at Wits provided a platform for debate and re-imagination of freedom.
Wits students launched the first-ever Obiter Lounge with raw, unfiltered debate on what freedom really means 31 years into democracy.
Tensions flared as students clashed over gender, power and justice proving freedom is still a battleground in South Africa.
It is a bold space for truth-telling, growth, and uncomfortable but necessary dialogue.
Marking 31 years of democracy in South Africa, the Wits Law Students Council (LSC), hosted their first Obiter Lounge at Solomon Mahlangu House on April 25, 2025, designed as a space created for unfiltered, student-led dialogue.
This is in collaboration with the Wits Moot Society, the Black Lawyers Association Student Chapter (Wits BLA-SC), and the South African Women Lawyers Association (SAWLA).
The event invited students to speak openly about the promises enshrined in South Africa’s Constitution and question whether these are reflected in the daily lives of ordinary citizens.
Lesedi Lekoto, LSC gender and transformation officer opening a new topic for discussion. Photo: Lukholo Mazibuko
Initial hesitation gave way to passionate contributions as students reflected on freedom as it relates to race, gender, class, education, and safety. Finger snaps and applause punctuated personal encounters of freedom: from political to academic, economic to social, and from safety to justice.
The turning point of the event came when controversial opinions sparked gasps, murmurs of disbelief, and passionate rebuttals, raising tensions as someone on the floor expressed that that once some black South Africans have been liberated in terms of wealth they isolate themselves from assisting those in lower positions than them, making them the most selfish out there.
This was received with backlash as others critiqued that blaming others for upward social mobility should come with the awareness that many were indoctrinated and fought for their freedom and others reminded the individual that black people must work twice as much to earn half as much and that escaping poverty is the point.
Students attentively listen in as a speaker expresses their thoughts on what freedom means to them. Photo: Lukholo Mazibuko
This conversation was exactly what Mihle Kunju, LSC Chairperson, hoped the session to spark, “The main takeaway I envisioned was the creation of tolerance for unpopular but somewhat logical views.”
He believes that it is through uncomfortable and brutal conversation that the country will realise its true purpose.
“The National Dialogue needs to be spearheaded by young people and requires an unwavering commitment to even the most radical ideals”, he said.
Third-year LLB student Mandisa Khathi captured the spirit of the evening: “It has opened my eyes to how much we can learn from one another. Spaces like this that bring people together are truly special.”
She said: “It’s refreshing to meet like-minded people who are as hopeful about the future of South Africa. Plus, it’s a great space for those who might not usually be heard to share their voices.”
The Obiter Lounge has officially set the tone for a new era of student dialogue that is raw, reflective, and urgently necessary.
FEATURED IMAGE: Students gathered in Solomon Mahlangu House for the Obiter Lounge. Photo: Lukholo Mazibuko
Wits postgraduate students tackle a conversation on black masculinities in South Africa, examining the impact of apartheid, absent fathers, and social pressures.
Book club dives into Dr. Malose Langa’s, “Becoming Men: Black Masculinities in a South African Township.”
Langa examines the lives of 32 young boys living in Alexandra, over 12 years.
Panellists highlight the performative nature of both masculinity and femininity, signifying the need to create ‘safe spaces’ for positive self-expression.
For their first pick, the Division of Student Affairs’ Postgraduate Book Club, discussed Senior Psychology Professor, Dr. Malose Langa’s book, ‘Becoming Men: Black Masculinities in a South African Township.’
Langa’s work looks at a study done, from 2007 to 2018, on 32 boys from the Alexandra township. In chapter one of his book, ‘What makes a man a man’, Langa starts with the grim environment, “The place is overcrowded and underserviced, and poverty, violence, and crime are rife.”
Through his study, Langa examines how masculinities were understood and formed over time, and the roles these developments played in negative masculine outcomes, such as abuse against women and other men, alcoholism, gangsterism, and more.
“If crime is being committed by young males, then it means that young males are who we need to focus on, and that’s how the journey started,” said Langa on the night.
Through stories like that of Hilton, a young boy who struggled with his sexuality, Themba, a teen father who fought for a relationship with his daughter, and Simon, the youngest son of four who tried his hardest to reject the norms that took boys down dangerous paths, we learnt about how masculinities in a township are a performance.
In the chapter titled ‘Backdrop to Alex – South African Townships and stories in context’, Langa explained that through a community’s fight against the Apartheid regime “various other forms of violence also increased in townships, including violent crimes …[the] rise of the ‘jackrolling’ phenomenon, whereby gang members committed violent crimes that included harassing, kidnapping and raping young women.”
Iracelma Adriano, a BSc Honours student in Geography at Wits and panellist at the book club, said, “There was a time in the book where the boys actually had to take photos with their disposable cameras and then they had one-on-one interviews with prof and they showed parts of their daily life, what was important to them, and afterwards there was a focus group and now they had this pressure of other men around them, and what they shared was different, and this to me just solidified the idea that masculinity and femininity are things that we perform, they are not inherent or fixed constructs.”
Reading these stories and appreciating the personal journeys of these boys exhibits how masculinities are shaped by historical forces and the subsequent social expectations that arose. Langa’s study reflects a key idea within feminist thought – that gender identities are not predetermined but constructs of society, politics, and history.
To dive deeper, specifically for the context of this book, one must look at the intersectionality discussed by the feminist movement, which recognises that identities are also shaped by one’s experiences and influences. Absent fathers and the vacuum mothers fill was one of the issues discussed. While mothers were credited with helping boys understand their emotions, the flip side was that this was trumped by the societal expectations to be more masculine, ‘Jaro-boys’, who were sexually successful with girls, defining them as men.
Langa’s book ends with a call for the urgency to create ‘safe spaces’ for ‘listening, hearing, and action’, calling for proactive educational measures, encouraging conversations around masculinity, and support for mothers as role models for emotionally healthy sons.
To end the book club’s discussion, the professor emphasised that the “responsibility is on all of us, what is it that you are doing in your private space?”
FEATURED IMAGE: Dr. Malose Langa’s book, “Becoming Men: Black Masculinities in a South African Township.” Photo: Ekta Seebran
Paige Harvey, a Wits graduate on a mission to spark change, one crown at a time.
Harvey posing atop the Great Hall steps after her graduation. Photo: Supplied/Rendaldo Verde
Beyond the Miss Soweto crown, Paige Harvey’s quest is for purpose and impact
Beauty, brains and a desire to make a difference
The Miss Soweto winner has eyes set on the Miss SA 2025 crown
In a world where traditional paths are often expected, Paige Harvey stands out as someone who has seamlessly transitioned from the world of diplomacy to the glamour of beauty pageants.
As a Wits University international relations graduate, Miss Soweto 2023, and a contestant for Miss South Africa 2025, Harvey’s journey is more than just a career shift. It’s a testament to her passion, determination, and multifaceted talent.
Paige grew up in Eldorado Park, Soweto, where her love and passion for modelling started. “I have entered Miss SA 2025 to stand as a beacon of hope, pioneering positive change in the mindsets of the youth. As South Africa prepares to host a G20 summit, the world is turning its eyes to us, this is more than a political moment; it is time for us to showcase the strength, resilience, and brilliance of our people,” she said.
From a young age, Harvey was fascinated by how countries interact and how policy shapes lives. “Studying international relations at Wits gave me the academic ground to explore complex topics and sparked a deeper desire to be part of the solution,” said Harvey.
Pageantry became a platform where Harvey could merge beauty with purpose. “I realized that pageants could elevate voices and causes,” she explained.
Harvey doesn’t see her academic and pageant personas as separate entities. “Both require discipline, confidence, and authenticity,” she said. Her academic journey grounds her, while pageantry empowers her to express that foundation publicly.
Harvey has faced her fair share of challenges, from balancing self-doubt and public expectation to navigating scrutiny and criticism. But she’s learned to stay rooted in her purpose and protect her peace. “I remind myself that I’m not just doing this for applause, I’m doing it for impact,” she said.
Paige Harvey taking the Miss Soweto 2023 crown. Photo: Supplied
One of the most impactful moments for Harvey was when she spoke to a group of schoolgirls about self-worth and purpose during Miss Soweto 2023. “One of them later told me that hearing my story gave her courage to apply for university,” she recalls. “That moment reminded me why I do pageantry – it isn’t just about the crown, it’s about connection,” said Harvey.
Her advice to young women pursuing multiple passions is simple: “Don’t let society box you in. You are allowed to do many things – smart, stylish, strategic, soft. Own every facet of your identity and don’t be afraid to show up fully.”
As she looks to the future, Harvey Paige hopes to continue competing on international stages and using her platform to spotlight youth empowerment and African excellence. She envisions a career that merges diplomacy, media and humanitarianism.
FEATURED IMAGE: Paige Harvey’s Miss SA 2025 entry picture, Photo: Supplied/Rendaldo Yarde
Ten years after students demanded change, The Fall is back on stage, bringing the unfinished fight for free, decolonised education back under the spotlight.
The play returns to The Market Theatre, features three original cast members and new talent.
Performances ignite the stage from April 9 to May 4.
A post-performance dialogue raised the uncomfortable question “was it worth it?”, as students continue to face barriers to decolonised and accessible education.
A powerful reimagining of The Fall, an internationally acclaimed protest play, opened at The Market Theatre in Johannesburg on Wednesday, April 9. The award-winning production challenges systemic oppression by spotlighting the voices and experiences of students who, in 2015, took to the streets demanding that the government make good on its promise to open the doors of learning and culture.
The play was originally created by eight University of Cape Town students in the aftermath of the #RhodesMustFall movement and the toppling of the statue of colonialist Cecil John Rhodes. Running until May 4, the new production is being presented by theatre company, The Theatre Duo, and Wits Drama for Life. It reunites three of the original student creators with a fresh cast, reworking the script and staging for a new generation of audiences still grappling with access and transformation at universities.
Opening night’s post-performance dialogue brought these issues to life. Wits University student Mzizi Khulu said, “We’re inheriting the same mentality of our forefathers. We’re still complaining, striking, and protesting. Do we really feel that Fees Must Fall mattered at all?”
Conversely, University of Johannesburg student Mpho Moilwa said, “We’ve been trying, we’ve been striking, we’ve been putting our bodies on the line for this movement, and nothing is changing.”
Students have their say on the impact of the Fees Must Fall movement. Photo: Mbali Khumalo
The Fall’s raw, collaborative format brings authenticity to the stage, blending personal testimony with performance. Sizwesandile Mnisi, original writer and cast member said, “When we first wrote this play, we inserted a lot of ourselves, along with research and archetypes that we saw in the movement. Doing this play ten years later, I too feel a sense of hopelessness that it can still speak so loudly. It’s beautiful that it resonates, but it’s also a problem that it does.”
Audience member Philadelphia Sithole emphasised the importance of theatre in recording our history. “We almost forgot Fees Must Fall. This piece is so powerful because it forces us to question what kind of society we want to have,” she said.
The Fall is a powerful reminder that the fight for access and decolonisation in higher education is still unfinished.
FEATURED IMAGE: Drama for Life Creative Research Hub Director, Hamish Mabala Neill, facilitates the post-performance dialogue. Photo: Mbali Khumalo.
Deaf Culture takes centre stage through short films, art exhibitions and visual arts.
The Wits Centre for Deaf Studies hosted South Africa’s Deaf Art and Film Festival (DAFF) on March 28, 2025, at the Space Frame Auditorium on the Wits Education Campus in Parktown, providing a platform for hearing-impaired creatives and storytellers to share their culture, identity, and lived experiences.
Sponsors of National Lotteries Commission by DAFF
The event, sponsored by the National Lotteries Commission, brought together members of the Deaf community, students, artists, academics, and allies for an afternoon that was as moving as it was inspiring.
Despite the absence of traditional sound, the festival is far from silent. It bursts with energy and emotion through visual storytelling and physical movement. Live performances include sign language poetry, visual music, and deaf theatre that incorporates bold gestures, expressive faces, and dynamic body language. Dance groups choreograph pieces to vibrations and rhythms felt through the floor, often using lighting cues and visual effects to guide timing.
A major highlight of the event was the screening of work created by 15 deaf interns, who spent the past six months training in a first-of-its-kind film production internship programme launched by the Centre.
Under the guidance of Nenio Mbazima, video producer at the Centre for Deaf Studies and project lead of the internship, these young filmmakers gained skills in cinematography, editing, and storytelling.“The journey hasn’t always been easy, many of them had never touched a camera before, But these interns showed incredible determination, they’ve grown into confident visual storytellers, and their films are not only technically excellent but deeply personal” said Mbazima.
When asked about the vision behind the event, the director of the for Centre for Deaf Studies and the festival’s lead organiser.
Prof. Claudine Storbeck, explained “This is the first time many of these stories are being told by deaf people themselves, in their own language, on their own terms. It’s about recognising Deaf culture not just as a disability narrative, but as a vibrant, creative identity.”
The short films shown were rich in personal narrative, emotion, and creativity, reflecting stories of identity, everyday challenges, and triumphs of deaf individuals in South Africa. The audience responded with enthusiastic applause and emotional engagement and many visibly moved by the film’s messages.
Nenio Mbazima and two interns Nombulelo Dakayi and Linda Majola by Bontle Malowa
One of the interns, Nombulelo Dakayi, shared how being part of the programme has changed her life.
“I was very shy and terrible at filming, but I never saw myself represented in the industry,” she said through a South African Sign Language (SASL) interpreter. “Now, I feel seen. I feel powerful.”
Another intern, Linda Majola, highlighted the importance of telling stories in SASL, “It’s our language, our voice. It’s how we connect with each other and the world,” she said. “Through film, we can show people what it really means to be deaf in South Africa”.
The festival concluded with a graduation ceremony where the interns were awarded certificates of completion, symbolising not just the end of training but the beginning of promising creative careers.
FEATURED IMAGE: The 15 deaf interns in the arts and film production. Photo: Bontle Malowa
While mainstream media often chases the sensational and the spotlight, Ishan Tankha’s lens seeks out the silenced revealing the lives and stories that slip through the cracks.
The Wits Centre for Journalism hosted independent documentary photographer, Ishan Tankha, on March 4, in a seminar about photojournalism’s preoccupation with the spectacular. Tankha is known for his compelling portrayal of the marginalised and forgotten.
His work, which spans continents, from his homeland in India to the United States, reflects his dedication to telling the stories of those often overlooked by mainstream media.
Tankha’s photographic journey is deeply rooted in his commitment to uncovering the narratives of people caught in the “in-between” — those who are typically absent from the headlines, such as minorities, displaced communities, and individuals enduring the effects of conflict. His focus is on capturing raw, untold stories that challenge perceptions and humanize complex social and political issues.
During his presentation, Tankha spoke candidly about his approach to documentary photography, emphasising that his work cannot be summed up in a single sentence.
Rather than taking a surface-level view of global conflicts, his work delves into the lives of individuals caught in the throes of war, violence, famine, and unrest. What sets him apart is his patience and dedication to his subjects.
He shared that, at times, he spends years observing and building trust with the people he captures, allowing their stories to unfold in a way that goes beyond what is immediately visible. This long-term commitment is essential to truly understanding the nuances of their lives, creating images that resonate deeply with audiences and spark conversation.
Tankha’s exploration of conflict through photography is not just about documenting the chaos but about interrogating the broader implications of these events on human lives. He aims to reveal the extraordinary situations of ordinary people living in extreme conditions. His focus is not just on the grand, often violent narratives of war or famine but on the silent struggles of individuals who are left behind by history, their stories ignored or forgotten by the world.
Having exhibited his work both in the United States and India, Tankha’s photography transcends borders. His powerful images are a call to attention — a reminder that there is always more to a story than what is immediately apparent.
Through his lens, he challenges the dominant narratives of conflict, shedding light on the quiet, complex, and often painful realities faced by individuals who live in the shadows of history. His work is a vital contribution to the world of photojournalism, ensuring that the stories of the most vulnerable are not only told but understood.
FEATURED IMAGE: Motorcyclists in India as seen through the lens of Ishan Tankha. Photo by: Ishan Tankha
Wits University held the annual Fresher’s Party to welcome first-year and returning students to the university. The night was filled with fun and performances by prominent artists such as Focalistic, Scotts Maphuma, DBN Gogo, and many more.
Wits Vuvuzela hit the ground to capture the night, tune in for an experience of fun, laughter, and excitement, ahead of a jam-packed academic calender.
An exhibition of Esther Mahlangu’s work explores themes of cultural identity and timeless creativity.
The first thing that catches one’s attention walking into the Wits Arts Museum is not just any BMW, but a 525i which has been transformed into a canvas of Ndebele motifs. The geometric patterns adorning the car are a signature of Esther Mahlangu’s work, now on display at this exhibition.
Titled, “Then I Knew I Was Good at Painting: A Retrospective,” the exhibition takes the viewer through Mahlangu’s decades-long career and showcases how she has shaped contemporary art, her tradition and culture.
From well-painted canvases to everyday objects reimagined as art – alcohol bottles, construction helmets, and tea containers – Mahlangu’s signature pattern finds itself in unusual places, serving as an exploration of themes such as cultural identity.
Belvedere vodka bottles are designed with Ndebele patterns. Photo: Siyanda Mthethwa.
Beyond the striking visuals, the exhibition also contains quotes from Mahlangu, who explains different phases of her life. One that stands out is her recollection of how she got into painting – she was initially scolded by her mother and grandmother for drawing on the house.
“After that, I started drawing on the back of the house, and slowly, my drawings got better and better until they finally asked me to come back to the front of the house. Then I knew I was good at painting,” reads Mahlangu’s quote.
Nontobeko Ntombela, the curator of the exhibition, spoke at length about Mahlangu’s work and its influence on contemporary art. “She was able to show the world two key things for me…showing the expansion of visual arts, that arts don’t derive from the West,” said Ntombela.
The primary vision for the exhibition was to “pull people closer to the detail of the art and to the detail of the artist,” Ntombela wanted viewers to understand the contributions made by Mahlangu instead of seeing her in a general way.
Freshpak rooibos containers are designed with Ndebele patterns. Photo: Siyanda Mthethwa.
Among Mahlangu’s most iconic works is the coated BMW 525i, a project which first gained international recognition in 1990, when it was returned to South Africa from the BMW museum in Munich after 30 years.
Mahlangu’s BMW design is significant because despite growing up in a rural area, she was approached by a prestigious company to design the car in a still segregated South Africa.
Ntombela is also working on a book which is an extension of the exhibition. “The book becomes a story that gives us the anecdotes of how she forged her career to be relevant. The book becomes the story of how other people give testimonies about meeting her,” said Ntombela. She continued, “We have experiences in the archive of her going into these different parts of the world painting private homes as well as institutions.”
Ntombela hopes to release the book before the end of the year, while the exhibition will stay in the Wits Arts Museum until April 17, 2025.
FEATURED IMAGE: BMW 525 designed with Ndebele patterns, by Esther Mahlangu. Photo: Siyanda Mthethwa.
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.
Will we ever have peace and friendship within and across our borders? In this episode of We Should Be Writing, the Vuvu team takes on the final promise of the Freedom Charter: There shall be peace and friendship. We unpack how this vision clashes with the growing issue of xenophobia in South Africa today. Our guests […]
