Beyond the polished grids and aesthetically pleasing feeds, Witsies are using social media on their own terms, transforming videos into value and posts into powerful tools to build a lasting digital presence.
On any given day around the Great Hall or the Matrix, you will see them. Students carrying heavy school bags, holding a coffee from Xpresso in one hand, and using the other to set up a tripod. Some are filming a quick “outfit of the day” at West Campus, while others record a “spend the day with me” vlog on their walk between lectures. Behind these quick videos, many Wits students are running real digital businesses right alongside their degrees. Across South Africa, the digital landscape is no longer just a virtual space: it has evolved into what Siphokazi Vuso describes in Forbes Africa as a strategic jobs engine.
Yet beneath polished Instagram feeds and viral TikTok clips lies a reality of late-night admin, delayed invoices, and the emotional weight of putting oneself into the world. For three Witsies Kungawo Gwayi, Praise Ngubeni and Amahle-Imvelo Jaxa, building a digital presence is not simply about chasing views. It is about discipline, courage, and transforming content creation into something impactful and valuable for their audience.
Every creative journey starts with a personal spark. For Gwayi, who holds an honours degree in theatre and performance, self-expression has always been central. “I started with fashion content because putting together an outfit felt natural,” Gwayi explains. As she grows, she has opened herself up to other spheres from skincare, perfumes and banking so she can be marketable across various brands.
An image of Kungawo taking pictures for her instagram page. Photo by: Rearabilwe Tsebela
An image of Kungawo going through her pictures. Photo by: Rearabilwe Tsebela
For Ngubeni, a third-year accounting student from Ermelo, Mpumlanga, content creation grew from a quiet desire to step outside familiar boundaries. “Being a boy from a small town with a simple culture really makes one feel boxed in. Intrinsically, I am an explorer, a leader and an opportunist,” Ngubeni explains. His entry point was through fitness. “People would enquire with me about their training, diets and just general life advice. I realized I could leverage all of this not only to better my life, but to inspire and motivate those around me”.
Praise shares a look into his workout session. Video: Courtesy of @praise_ye
Jaxa, an international relations honours graduate, was raised on news and politics by a single mother and political father turned serial entrepreneur. “Every Sunday my mom and I read the paper together”, Jaxa reflects. “Without that nurturing, I wouldn’t have the keen interest I have in current affairs and politics.” When her video on South Africa’s peacekeeping went viral, it confirmed her path. “I have created content since social media existed, it was an easy transition.”
An image of content creator Amahle Jaxa featured in a print profile by the Daily Dispatch. Photo: Courtesy of @jaxxofalltrades_sa / Daily Dispatch
The soft glow of a screen often hides the physical and mental endurance requires to sustain a digital footprint alongside university deadlines.
Ngubeni relies on careful time management to balance his degree with his creative drive. “My weeks are always planned in advance. I wake up early Monday through to Saturday and I know midday is for classes and gym, and then in the evenings I fight to get in the last solid block of studying.” He speaks openly about the weight it carries. “Burnout becomes life at some point, and I just learn to be patient enough to let it build my capacity”.
For Gwayi, the final year of her degree demanded profound emotional strength. “I had to balance work, academics and grief since I had lost my very close friend,” she recalls. “Listing my priorities and ticking off as I go definitely helped me show up as best as I can.
Beyond tight schedules, both creators acknowledge the vulnerability that comes with visibility. Gwayi notes, “It is not normal to have parts of your life always at people’s disposal even when you are a private person, digital content creation is a performance of self.” Jaxa echoes this feeling, adding: “From an emotional perspective, you expose yourself to strangers, from a mental perspective, it’s gruelling. It’s about posting consistently and sometimes even when you do not want to.”
A picture of Kungawo taking pictures for her Instagram page. Photo by: Rearabilwe Tsebela
Digital platforms open up genuine opportunities across the continent, but navigating industry structures requires patience and adaptability.
Learning the professional side of the media landscape was a formative process for each creator. Ngubeni’s first project came after sharing organic content for a major retail group, which led to a paid opportunity between R4 000 and R6 000. He has since poured his earnings back into tools like an iPad to support his workflow. “The one thing people miss is that this is a business, not a hobby that happened to pay,” Ngubeni notes. “Behind the videos, there are invoices, rate cards, vendor registration forms and pricing decisions.”
Jaxa recalls her first paid campaign in 2020 earning R3000 for a DIY clothing brand shoot in her apartment and credits a major campaign with Steers for boosting her confidence and giving her a crash course in set professionalism.
Both Jaxa and Gwayi highlight managing long payment cycles often taking 30 to 90 days as one of the steepest learning curves for creators. Jaxa advises hiring an accountant as soon as possible to manage cash flow.
Despite the quiet sacrifices behind the scenes, all three creators are building careers to be proud of.
“I would tell them to start now,” Gwayi encourages fellow students. “The more you think about it, the less productive you are being. Allow yourself to be seen trying.
Ngubeni shares a similar sentiment: “Do it scared, do it unsure, do it. Second half: learn to manage your time extremely well and plan your content intentionally.”
For Jaxa, remaining grounded in one’s voice is everything. “Stay true to yourself; authenticity goes such a long way and that’s what your audience wants,” she says. “It is also one of the most fulfilling things I have ever done. I have an autonomy over my life that many people are not afforded, and I will always be grateful.”
Watching Gwayi, Ngubeni and Jaxa navigate their paths, it becomes clear that student content creation is about far more than trends or viral moments. It is about brave young people deciding that their stories, their perspectives and their futures belong firmly in their own hands. As they balance long nights of studying with the courage to be seen, they remind us that building a life of purpose does not happen overnight, it is created draft by draft and, post by post.
FEATURED IMAGE: A image of three Witsies buildinding a digital presence as content creators. Photos: Top: Rearabilwe Tsebela, Bottom Left:@praise_ye, Bottom Right:@jaxxofalltrades_sa, Collage: Rearabilwe Tsebela
Film graduates find new and creative ways to navigate the rocky terrain of show business.
A trio of former Wits film students debuted their independent screening event, Chosenima.
The event challenges the rigidity and exclusivity of film festivals by providing an open platform for creative expression.
With the success of the first screening, the group hopes to empower more emerging voices in the industry.
For a group of three film graduates, Natasha Chirambo, Simamkele Mrwetyana and Scott Paton-Levin, cinema has never been about the flashy film festivals or prestigious Oscar nominations. It is simply about a deep, unwavering passion for the craft.
On the evening of August 1, the group debuted their independent screening event, Chosenima, at Crispy Skateboards on 1 Fox Street, Ferreiras Dorp. Tucked away in the four corners of a graffiti-covered warehouse, filmmakers and film lovers settled in a cozy sprawl of pillows and blankets to share an intimate night of cinema.
From intricate hand drawn animations to crafty collages stitched from personal photographs, each film beats with the pulse of its creator. Soft, yet powerful, the films explored delicate moments of queer love, personal struggle and emotional vulnerability.
Picture of the screening at the Crispy Skateboard warehouse. Photo: Jamie Ho.
The initiative was founded by three Wits film and TV alumni who became increasingly disillusioned with the elitism of film festivals. “When we were doing our varsity degree in film and tv, we were taught to make films for festivals,” explains Mrewetyana. “And festivals most of the time have their own territorial needs.”
This sentiment is echoed by Chirambo, who sees the rigid requirements of traditional filmmaking as a trap for young creators. “People try to put in a formula so they can get an Oscar,” she says, “I don’t think that’s what art should be about: trying to please some invisible power in the industry.”
Paton-Levin recalls a personal memory, grappling with the film industry’s exclusivity. “When I was 15, I made a film called ‘Girl’. It was three minutes long. I submitted it to maybe 10 film festivals and I didn’t get into a single one, so I never got a chance to play that movie.” This rejection in turn has fuelled Chosenima’s welcoming ethos. “I want to talk to that kid,” he says, “and be like: ‘Come play your movie, my boy.’”
Graphic collage showcasing all three founding filmmakers: Simamkele Mrwetyana, Natasha Chirambo and Scott Paton-Levin. Edited by: Jamie Ho
By giving filmmakers space to experiment and hone their craft, Chosenima breaks away from the rigid expectations of commercial film. Mrwetyana’s own filmmaking reflects this through the genre of Afrobubblegum: a cultural movement that rejects mainstream cinema’s portrayal of the black, queer experience that solely depicts it from the lens of hardship and struggle and moves to celebrating the simple joys of ordinary life.
As the final film drew to a close and people lingered long after, it was plain to see that the future of cinema wasn’t far-off in some distant Hollywood theatre. It was already happening right there on that screen.
FEATURED IMAGE: Hand-drawn graphic of a cassette tape with the words ‘Chosenima’. Drawn by: Jamie Ho.
‘Ha o sa tsebe mo o tswang teng, o kekebe watseba mo o yang teng’ is a popular proverb amongst Basotho which means ‘if you do not know where you come from, you will not know where you are going.’
Wits Basotho Students Association (BASA) hosts a Kobo parade to showcase cultural pride.
Basotho students address the misconceptions surrounding the Basotho culture.
BASA aims to educate the Wits community about their traditions and customs.
For Basotho youth, this proverb serves as a reminder that staying true to one’s roots and honouring the places and people who shaped them will guide their future endeavours. It is a compass that points toward their future. On July 20, 2026, Wits University Basotho Students Association members gathered outside the Matrix, dressed in colourful traditional blankets for the BASA Kobo parade, an event celebrating Basotho identity and pride.
While the mountainous country of Lesotho is home to many Basotho, some also hail from parts of South Africa. “Most people need to realise that our ancestors or our lineage may lead back to Lesotho because of our forefathers, but it doesn’t necessarily mean that we are all from Lesotho,” explained Kgoboso Mofokeng, a third-year Bachelor of Education student, originally from Matatiele in the Eastern Cape.
King Moshoeshoe the First was the foundational monarch of the Basotho Kingdom. Through his leadership and peacekeeping, he united the scattered Basotho clans, which existed independently before his reign. During the 1800s, when South African tribes such as Zulu, Xhosa, and Ndebele were experiencing a chain reaction (survival of the fittest) during the Shaka wars, some people fled to Lesotho, where Moshoeshoe welcomed them. Despite his efforts to unite different nations, misconceptions about Basotho still exist.
“The biggest misconception is that we’re all ‘zama zamas,’ or ‘illegal miners,’” said Michael Mokolokolo, BASA media officer. This stereotype is often fuelled by Afrophobia, sparking hostility from South African communities against illegal mining. It is also linked to Famo, a music genre whose associated groups are seen by some as violent, gang-like organisations. As a result, people hear the music and jump to conclusions.
For BASA, the parade was not only aimed at showcasing the beauty of Basotho blankets, but an invitation and a call to celebrate diversity.
Sesotho blankets are made on large looms where yarn as thick as sheep’s wool is tightly-spun, sun-dried, then heat-pressed, allowing intricate patterns to take shape. The weight of these blankets is enough to protect their wearer from the cold, but they remain soft to the touch. The detailing is where the meaning lies; every pattern, colour, and border tells a story. “Our blankets are deeply symbolic; they represent identity, status and history”, Michael said.
The Seanamarenablanket patterns are a combination of the honeycomb and poone corncob, which symbolise wealth, kingship, and prestige. It is often mistaken for a graduation gown. This mix-up comes from a popular song lyric: ‘Ntate nthekele Seanamarena kobo ya thuto’ which translates to ‘Father, buy me a Seanamarena for completing my studies’. The original lyrics are ‘Ntate nthekele Seanamarena kobo ya bohadi’ — a bride asking her father to buy her this prestigious blanket as part of her bridal wealth, making it a wedding song instead of a graduation one. As Kgoboso explains: “They need to understand that Seanamarena means to ‘swear by the kings.’ It’s not a graduation gown.”
Sesotho blankets are earned; they are gifted during milestones and life-changing ceremonies in a person’s life. Basotho believe that with them comes responsibility and ancestral protection.
BASA’s goal is to keep people educated about Basotho and their customs and encourage diversity; “The message is to appreciate the beauty of diverse cultures within our country and the world at large,” Michael said. They also aim to support young Basotho students in finding their footing within the university; “Meeting up with them regularly has had a huge impact on me; it keeps me grounded and reminds me of who I am as a Mosotho, even in a big, diverse city like Johannesburg,” Michael added.
The Basotho culture is rich in storytelling, customs, traditions, attire and music. BASA and the Basotho campus community walked from East to West campus to showcase the beauty of their blankets to the wider Wits community while they sang traditional songs accompanied by traditional dances. “We also want people to understand that we are one. That’s why we welcomed non-Basotho to join the parade, because culture is not about division; it’s about unity and sharing,” Michael explained.
For BASA, this day was about celebrating who they are as Basotho, and so they chose the first day of semester two to remind themselves of who they are and where they come from. “If other tribes can celebrate themselves proudly, why shouldn’t we?,” asked Michael. “Our language, our blankets, our music – it’s all something to be proud of. We should wear our identity with confidence.”
A group of BASA men posing for the camera, adorned in their various blankets. Photo by: Naledi MaraisaneBASA Chairperson, Boikarabelo Mtshiswa, wearing his Basotho blanket. Photo by: Naledi MaraisaneTwo BASA members showing off their Seanamarena blankets in different patterns. Photo by: Naledi MaraisaneBASA ladies breaking into a song while the men decide whether or not to join in. Photo by: Naledi MaraisaneBASA committee members. Photo by: Naledi Maraisane
FEATURED IMAGE: BASA members gathered, deciding on their next song. Photo by: Naledi Maraisane
More than 3 300 students attended the university’s first Witsies Got Talent competition, where sold-out crowds, cheering audiences, and standout performances transformed the Great Hall into a celebration of student talent
Ntando Qangule won the competition and R30 000, followed by Zinhle Zonke Bhebhe with R20 000 and Luke Scrase with R10 000.
Singing, poetry, dance, and audience participation turned the finale into a celebration of student talent and campus life.
Cheers echoed across the Great Hall on Saturday evening as students chanted Ntando Qangule’s name before she had even stepped onto the stage.
Moments later, the third-year Bachelor of Arts in Theatre and Performance student delivered the singing performance that would win her the first Witsies Got Talent title and R30 000 in prize money.
The grand finale, hosted by Campus Housing and Residence Life on May 9, brought together the competition’s top 12 finalists after 137 students initially entered.
Qangule, who said she had been feeling ill before the performance, credited feedback from judges in previous rounds for helping shape her final act. “Perform. You’re not just here to sing. We know you have a voice, but perform,” she said, recalling the advice she received during the competition.
Poet Zinhle Zonke Bhebhe placed second and received R20 000, while second-year LLB student Luke Scrase secured third place and R10 000 for his tap-dancing performance.
The top three winners of Witsies Got Talent 2026 pose with their prize cheques at the Great Hall on May 9. From left are third-place winner Luke Scrase, first-place winner Ntando Qangule and second-place winner Zinhle Bhebhe alongside sponsors and organisers. Photo: Asisipho Lynette Mpahleni
Students fill the Great Hall during the sold-out Witsies Got Talent grand finale hosted by Campus Housing and Residence Life. Photo: Asisipho Lynette Mpahleni
Hosts Simon Bopape (left) and Khayalethu Xaba engage the audience during the Witsies Got Talent grand finale at the Great Hall. Photo: Asisipho Lynette Mpahleni
From left are judges Dr Moloi, Thembisile Mathebula, Vuyolwethu Matiwane and Sibusiso Mkhize during the Witsies Got Talent grand finale at the Great Hall. Photo: Asisipho Lynette Mpahleni
The winner of the Wooden Mic Talent 2026, Promise Ntshudisane, known as Dese Ke Star, shakes judge Sibusiso Mkhize’s hand. Photo: Asisipho Lynette Mpahleni
One of the standout moments of the night came from Scrase’s tap dancing routine, which left judge Vuyolwethu Matiwane admitting that she had forgotten to write down a score because she was so captivated by the performance.
“Audiences are not always open-minded enough to appreciate something like tap… but the judges and the audience really got into it, and I could not be more grateful,” Scrase later told Wits Vuvuzela.
The finale featured performances from Angelic Voices of Buffness, Luke Scrase, Kira Attfield-Fuchs, Zinhle Zonke Bhebhe, Munei Nthai, Nandi Moyo, Asibonge Ntuli, Ogomotseng Gaonathebe, Dineo Modisane, Raiders 6, Cebisile Banda, and Ntando Qangule.
Audience participation remained high throughout the evening as students sang, danced, and competed for prizes handed out by hosts Simon Bopape and actor Khayalethu Xaba. Fourth-year BA Theatre and Performance student Asibonge Ntuli also received a standing ovation before she even began performing her original song.
Celebrity performances from Aymos, Soweto’s Finest, and Clemour Ngobeni added to the atmosphere as judges Dr Moloi, Vuyolwethu Matiwane, Thembisile Mathebula, and Sibusiso Mkhize evaluated performances ranging from singing and poetry to dance and visual art.
Campus Housing and Residence Life organiser, Mr Maphumulo, said the initiative aimed to create opportunities for students beyond the classroom.
“The talent show is critical because it addresses several issues, such as alternative entertainment, raises awareness about drug/alcohol free residence communities, and most of all, mental health. The show not only gives a platform but also allows students to have a healthy competition amongst themselves,” he said.
Promise Ntshudisane, known as Dese Ke Star, won the Wooden Mic Talent 2026 category, a comedy-focused category created mainly for entertainment.
Alongside cash prizes, finalists also received Pick n Pay vouchers, sponsored trips, and opportunities to perform at future university events.
As the crowd slowly emptied from the Great Hall, students were still replaying performances, singing lyrics, and debating their favourite acts from the night.
FEATURED IMAGE: Witsies Got Talent 2026 winners Luke Scrase, Ntando Qangule, and Zinhle Bhebhe pose with their prize cheques after the grand finale at the Great Hall. Photo: Asisipho Lynette Mpahleni
The Melville Art Mile reactivates the creative heritage of the suburb.
Once a month, the Melville Art Mile creates a walkable art experience in the heart of student life in Johannesburg, Melville.
Artists, are given the opportunity to exhibit their work in a way that is accessible to all.
Melville is reclaiming its spot as Johannesburg’s creativity hub.
Ask anyone who has been a university student in Johannesburg; they have been to or at least heard of Melville. From the cute cafes to the busy bars to the grand graffiti adorning almost every crevice of the area, Melville creates a vibrant, friendly atmosphere that differs from its neighbouring suburbs.
The suburb has begun to center itself as Johannesburg’s creativity hub. Student culture has shifted the legacy of the environment from a quiet, calm Afrikaaner area to the lively, artsy dynamic it has become.
One event captures the soul of the suburb, the Melville Art Mile, a monthly event along the Melville Strip.
Canvases spill out onto the streets, loud laughter can be heard all around, and handmade trinkets are on display. This is the scene that greeted me when I visited on Thursday, May 7. The event invites people to enjoy a night of art, music, and community by providing an accessible way to curate and consume art, a welcome detour, especially for students.
Artwork by Indoni on exhibit at Melville Art Mile. Photo by: Kerese Govender
The Melville Art Mile offers opportunities for young emerging artists to display their work. This provides them with the push they might need to fulfil their dreams. A singular compliment on their brushstrokes from a stranger or even a few new followers on Instagram, is sometimes all it takes to get one foot out the door.
Many artists credited Melville in their artistic journeys as this environment is one of the only places that one can paint without anyone disturbing them, in reference to graffiti art. “Melville has always been known as an artist sanctuary.” Aubrey Moloto, the founder of Melville Art Mile, told this reporter.
Thalia Ngcobo, a young artist with work on display at the event, shared, “This is a great opportunity especially for those who are starting out, because starting out is scary. Doing this is the first step in your career.”
The Melville Art Mile is considered an “open market for artists because there’s nowhere in Johannesburg where you are able to sell your artworks to a public audience and receive all the comission,” Moloto explained while discussing the benefits of exhibiting at this event. “All you need to do is fill out an online form that can be found via the organisation’s social media pages and wait to be selected. Melville artists and businesses are prioritised as “this is for them, by them,” he further commented.
Artist Alex Dibakwane and his artwork, Ancestral Disputes, on exhibit at Melville Art Mile. Photo by: Kerese Govender
Moloto shared that the initiative of the organisation is to remind the city as well as everyone around it that Melville, at its core, is a creative space. Another goal is to boost the economy of the area.
Every turn that you take, every street you walk down, and every exhibit you enter, shows you exactly what Melville is becoming – a space for creatives to exist without (too much) worry.
The neighbourhood is more than just its dangerous reputation. Moloto hopes to “shake that narrative” through the First Thursday monthly Melville Art Mile events. The organisation’s driving force is to regenerate Melville’s creative roots and bring back life to the local businesses by boosting the economy and providing work for everyone in the neighbourhood, from students to residents to artists.
“Melville is a great example of what Johannesburg should be,” explained Neil Badenhorst, a frequent attendee at Melville Art Mile.
According to event attendees, art has a pretentious culture attached to it. In theory, art is meant to be something accessible and interactive, a source of community. However, in practice, it has become a very clinical experience. The welcoming and vivid feel has been disrupted by an elitist and alienating crowd.
Yet, this is not the case in Melville. In Melville, art is for everyone.
It belongs to those who cannot afford a ticket to an art gallery. It belongs to those who can sketch in their sleep. It belongs to those who do not understand the difference between acrylic, watercolour, or gouache. It belongs to those who can mould a block of clay into a masterpiece.
FEATURED IMAGE: Attendee looking at artwork on display at the Melville Art Mile. Photo by: Kerese Govender.
When Wits met La Réunion on stage, language fell away and music took over. Voices Without Borders brought French precision and African warmth together for one unforgettable night at the Atrium.
Picture of Wits choir warming up for the event. Photo by: Reatlehile Mashamba
The Faculty of Humanities and the Wits Choir welcomed Choeur du Petit Conservatoire de I’Est for a joint concert titled Voices Without Borders on May 08 at the Wits Artiruim.
The performance was set to start at 18:30 with guests arriving an hour earlier, filling the air with excitement and anticipation. From the moment the first note rang, the contrast between both choirs was evident, and that was the essence of the evening: a cultural exchange with no borders.
Led by director Fanny Prie, the French choir set the stage with precision and harmony of classical French repertoire. Based in Saint-Andre, La Reunion, the 45-strong youth ensemble is known back home for their “Bus de Noel” tour across schools and hospitals. Their sound was clean, controlled and disciplined, with pure evidence of what years of training sound like in every phrase they sang.
Yet, the performance didn’t feel cold; it brought warmth to a country far from home. “We are a population and a mix; that’s what our choir represents. It’s difficult because African choirs sing in their languages, but it has been a lesson for us and the exchange helps us exchange the French repertoire.” said Prie. The Artiruim fell silent after the last note, then broke into applause, as language barriers disappeared through music. On the other side, Menzi Gumede and Sasha Xola Dladla-Nkosi shaped the Wits Choir for the evening. It was nerve wracking for them going in not knowing what the audience’s turnout would be, but there was clear excitement from both conductors.
They pushed the choir into rhythm and created a beautiful harmony, listening for how it could blend well with the French choir’s precision. For Dladla-Nkosi, that was the point of the night. “Shared harmony is the ability to do things with people who have not been exposed to the choir setting. Harmony in itself blows people who are not involved in choirs away.” said Dladla-Nkosi.
The electric feeling from both conductors came through in the passionate voices of the choir. The choir blended well mixing raw talent to make beautiful melodies. When the Wits choir missed a note and had to restart, the moment wasn’t met with embarrassment by performers and the audience. It was instead met with a shared understanding that they were striving for perfection.
The idea of “shared harmony” stopped being just an idea and became what was happening in real time. It wasn’t about which choir was better; it was about what happens when two different traditions and age groups meet with the intent to learn from each other and deliver the best performance.
“The cultural exchange is something I’m looking forward to because they are an elderly choir. I’m just really excited to be here. I think music is a universal language and them coming from France and us from South Africa and us coming together for the love of music encapsulate what shared harmony means” said Kea Maphila, an alto singer for Wits choir.
When both choirs came together on stage, it was nothing but beautiful. The precision and energy from both choirs completed the entire evening. In that moment the differences in language, style and training did not matter; what remained was a shared sound that felt bigger than each choir. Reunionese choral music blends French choral discipline with Maloya rhythms, a Créole style from African, Malagasy and Indian heritage on the island’s sugar plantations. South Arican choral music blends Western hymns with indigenous African traditions in the Amakwaya style, becoming an identity and community tool. It showed that music does not need perfect translation to connect people, it needs two groups willing to listen and meet in the middle.
Picture of Wits choir practising while French choir watches them. Photo by: Reatlehile Mashamba
FEATURED IMAGE: Picture of Wits choir warming up for the event. Photo by: Reatlehile Mashamba
Wits E-Hub Market Day turned the Library Lawns into a lively marketplace where students put their entrepreneurial feet first.
Wits E-Hub Market Day gives student entrepreneurs an opportunity to sell products, test ideas, and build visibility on campus,
With South Africa’s youth unemployment rate at 46.1%, more students are turning side hustles into viable income streams while still studying.
Student-led businesses like Ilanga Coils show how personal experiences are being turned into scalable ventures, supported by campus entrepreneurship spaces.
Image of crochet handbags by Eddies Craft
Decorated stalls lined at the Wits University Library Lawns as students moved between vendors selling jewellery, bags, new tech innovations, candles, henna art and sweet treats. Behind one table, third-year year Accounting Sciences student Tassy Mabuza was already close to selling out of his, Barebites, sweets from his business, Sweetplug co.
The Wits Entrepreneurship-Hub (E-hub) supports students interested in starting and growing businesses. Based at the Matrix Building on campus, the hub provides networking opportunities, pitching sessions, market days and co-working spaces for collaboration and ideation. Faith Njoko, project co-ordinater at E-Hub,says through weekly business events and entrepreneurship programmes, they help students gain practical business experience outside of the classroom. A vital bridge between academic study and the realities of running a business for many students.
Through initiatives such as the recent Market Day, students can test products, interact directly with customers and build brand visibility within the campus community.
Beyond the lively atmosphere, the event reflects a growing culture of entrepreneurship among young South Africans and students navigating a difficult economy and rising youth unemployment. According to Statistics South Africa, the country’s official unemployment rate rose to 32.9% in the first quarter of 2025, while youth unemployment among people aged 15 to 34 reached 46.1%. Against this backdrop, side hustles are becoming more than temporary trends for students. From haircare brands and food businesses to fashion and creative services, many young people are using entrepreneurship to create opportunities for themselves.
This growing entrepreneurial culture is largely solution driven, with students identifying everyday problems and developing businesses that respond to real needs within their communities.
Image of iLanga Coils Hair Products
One of the student entrepreneurs at the market, Nomusa Khambule, turned a personal struggle with natural hair into a growing business while completing her master’s degree in management specialising in entrepreneurship and new venture creation. Khambule’s Ilanga Coils was born in 2022 after she struggled to find products that worked for her own hair. Drawing from her science background, she started experimenting with ingredients and formulas before officially launching the business in 2023. “What started as solving my own problem became something much bigger once people started responding positively to the products,” she said.
Since then, the brand has expanded beyond campus markets and recently collaborated on a campaign with Absa, a milestone Khambule said validated the potential of student owned businesses. However, balancing postgraduate studies and entrepreneurship has not been easy. Khambule rejected the idea of “perfect balance”, saying that running a business while studying requires constant prioritisation. “Some days school needs more attention, and other days the business comes first,” she explained.
Despite the challenges, Khambule said physical market events remain important because customers can directly experience the products before purchasing them. “For haircare especially, people want to touch, smell and try products before buying them,” she said.
Additionally, she said that “markets help build trust and visibility.” Although Ilanga Coils is now profitable, Khambule said scaling production remains one of her biggest hurdles as she still operates from her kitchen. She hopes to eventually expand the brand into a recognised African cosmetics company.
Image of Snowflicker Studios Candles
As the market slowly began to quiet down, students packed away the last of their products after a day of sales and networking. For many of them, the businesses displayed on the library lawns are more than temporary side hustles, they mark the beginning of long-term ambitions.
FEATURED IMAGE: Image of Tassy Mabuza, founder of Sweetplug co at the E-Hub market showcase. Photo: Nqobile Mtshali
A creative powerhouse whose legacy is defined by life experiences, grit, passion and purpose.
Malcolm Purkey is famously known as a multifaceted genius. A playwright, director, actor, lecturer and an experienced Dean of AFDA Johannesburg. From humble beginnings, Purkey carved his own path in theatre and education rooted at Wits University.
Born in 1951, Yeoville, Johannesburg, Purkey spent his life moving around the city. His parents came from Britain; his father Harold Purkey was a jazz pianist and his mother, Kay Purkey was a hardworking singer. It is no surprise, then, that Purkey inherited all the artistic talent from both his parents.
A photo of Malcolm Purkey standing next to Sophiatown board. Photo: Sikelelekile Pahlana
Purkey is a true Witsie, he started at Wits in 1970 and studied English, Sesotho and Ancient Greek. He initially dropped out because he had failed his undergraduate modules and found his way back to Wits, completing English One. Afterwards, he left school and worked in a theatre for six months, which marked the beginning of his theatre career. He left South Africa to go to Britain, and realised Britain was not home, in fact he came to the conclusion that: “I am neither African nor European, I am both.”
His return to Wits to complete his honours in English, built a box theatre in the Matrix alongside an architect and he also built The Nunnery theatre.
As Purkey spoke to Wits Vuvuzela, a vivid recollection of being taught the absurdist play, Waiting for Godot by Samuel Beckett by former English lecturer, Hilary Semple. A seminal moment for him.
“I’m an absurdist. Oh my God. There is no God. Oh, my God what am I supposed to do? So, what I did is I wrote [sic] an answer. Where the two characters who are looking, waiting for Godot, they finally get to heaven, and they find out that the realisation of a dream is hopelessly inadequate. The journey is all…That was the play I wrote, and it got professors saying nice things about it,” he shared.
The play in question was Sequel to Jeso (1971), which was one of his first plays shown at Wits, in the Great Hall.
Decades on, Purkey’s imprint in theatre continues to be felt the resurgence of the play Sophiatown (1986), which was recently on show at the Wits Theatre. Sophiatown has successfully sold one million copies of the play text published by Wits University Press and Macmillan Publishers which happens to also be a part of the current grade 11 first additional language curriculum.
Purkey believes that drama, as both a subject and medium, is a powerful tool. “Drama teaches you a whole lot of power, language, talking and being in the world.” He first learned just how powerful when he co-founded the Junction Avenue Theatre Company in 1976 and later joined forces with Workshop 71 to form a non-racial theatre group that could shed a light on the injustice of the Apartheid regime.
A guiding principle for the company was “history from below.” It “was the idea that we have to reveal the hidden history that the apartheid state wanted hidden, such as the destruction of Doornfontein, the destruction of Sophiatown, the ANC in exile,” he shared.
His first award followed shortly after in 1978, when Purkey won best director of the year for the play Travesties.
Through his work and life experience Purkey has been able to not only achieve much but also live up to his sense of purpose, which is: “To use theatre to communicate wonderful, contradictory, and telling ideas that reveal part of our worlds to ourselves and part of ourselves to ourselves that otherwise remain hidden”.
FEATURED IMAGE: A photo of Malcolm Purkey. Photo by: Sikelelekile Pahlana
Every Wednesday at any Roco Mama’s near you, students are signing waivers, sweating through ten burning wings and calling it a good time. But this is not really about the food.
Every Wednesday, something unusual happens at Roco Mama’s branches across the country. Students pull up in groups, sign a legal waiver and willingly eat ten of the hottest wings on the menu in under 10 minutes for a chance to win a cap and a free meal worth R200. Most of them lose. Almost none of them regret it.
The challenge has quietly become a student ritual, Witsies are showing up in numbers. Waiter Jimmy Khumalo stated that “Yona iWits iya si supporta” which translates to Wits really supports us.
The rules are simple. Ten hot wings, a side of fries and a 500ml sprite. Finish everything in ten minutes and the meal is on the house. Tap out and you are R200 lighter. Before any of that, you sign a waiver. Rosebank branch manager Giovanni Bernicchi is straightforward about why “We won’t be liable for anything that happens to the person, that is why we have a contract in place, which remains valid for up to one year” he stated.
What draws students in? Bernicchi says it is a combination. “Students are coming for both the content and the experience. Because it only happens once a year, they want see how it is and experience something that is hot” he added.
But spend any time watching a table attempt the challenge, and one thing becomes immediately clear. Nobody is doing this alone, even when they came alone. Strangers lean across tables offering advice. Friends count down together. Someone who already tapped out becomes the loudest cheerleader for the person still going.
There is a camaraderie that heat seems to manufacture, there is a shared suffering in it that makes strangers feel closer, more quickly than most situations would. On the Wednesday I visited, three separate groups of student friends were there to take on the challenge. Though different in race and background, they had the same energy. The restaurant for those few minutes felt less like a dining space, and more like a locker room before a big sports game.
A group of friends bow their heads and join hands in prayer over plates of spicy hot wings and fries at RocoMamas. Photo: Rearabilwe Tsebela
This sense of solidarity may also explain a quieter phenomenon at these tables: the placebo effect. In this context, the placebo effect refers to the way a person’s belief that they can get through the heat, reinforced by the encouragement of those around them, makes the experience more bearable that it would be alone. The pain does not disappear, but the brain works with the body rather than against it. When a stranger tells you, “you have got this” and your friends suffering right alongside you, community becomes the painkiller.
Oratilwe Mabizela, who completed the challenge, speaks to exactly this. “I love challenging myself and I hate quitting’’, he said. Mabizela grew up eating spicy food and wanted to test his limits and set out to become the first person to complete the challenge at the Loftus Park branch. On whether he would do it again? He replied “Oh no! The challenge itself is not that bad, the aftermath is, when the food has to go out”, he said.
Tshidi Thabethe did not complete the challenge however does not frame it as a loss. “I paid for the experience more than the food. It was fun, intense and definitely something different”, she said. Thabethe came after seeing the buzz online, curious to find out if the challenge lived up to the hype. It did. Her TikTok video of the attempt has since reached 1.1 million views turning one Wednesday into viral content long after the heat has worn off.
Students are willing to risk R200 not for the food and not just for the content but for a story they get to tell together. Win or lose, they walk away with something no meal alone could offer: the memory of having gone through something hard, with other people and coming out the other side laughing.
The edge Witsies try and conquer is not always academic. Sometimes it is sitting across the table from a friend suffering through the same fire and realising you are not alone. Ten wings. 10 minutes. Community.
The challenge is available every Wednesday at Roco Mama’s, so wherever you are in the city, there is a table and a waiver waiting to be signed.
FEATURED IMAGE:The outdoor seating area of RocoMamas Rosebank, featuring wooden picnic-style benches and warm lighting under a modern black frame. Photo: Rearabilwe Tsebela
Street skate culture is alive and thriving in the heart of Jozi.
F City hosts a skate competition in Selby.
Young skaters flock to the event to show off their tricks.
Skate culture facilitates youth development and community building.
Picture of skater mid-trick. Photo: Jamie Ho.
Picture of skater mid-trick. Photo: Jamie Ho.
Picture of skater mid-trick. Photo: Jamie Ho.
Picture of skater mid-trick. Photo: Jamie Ho.
Picture of skater mid-trick. Photo: Jamie Ho.
Picture of skater mid-trick. Photo: Jamie Ho.
Picture of skater mid-trick. Photo: Jamie Ho.
On Saturday April 25, wheels were rolling and sneakers were skidding in Johannesburg’s inner-city as F City Market brought skateboarding to the streets of Selby.
The afternoon was filled with cheers as a group of young skaters from central Johannesburg crowded around a small wooden ramp, eager to showcase their skills. The prize: a brand new skateboard courtesy of Crispy Skateboards.
This was young Isheanesu Hove’s first day doing a double kickflip: a move which crowned him the winner of the competition. “Skating to me, it means life,” Hove says, proudly clutching his newly won board. “It inspires me.”
This event is one of many hosted by F City Market in collaboration with Crispy Skateboards to bring skating back to its roots. Joe Dludla and Rhandzi Rhay, two students who founded the movement, were spurred by the lack of skating events in Johannesburg.
With most events being larger-scale or enclosed in skate parks, Dludla and Rhay saw a need to create an alternative space on the streets of Braamfontein for the youth by the youth.
Street skating is central to what Dludla calls the “core culture of skateboarding,” an activity that isn’t limited to skate parks, but open on the streets and accessible to all. “It’s a very small niche scene, so we need to keep it alive,” he adds.
At its core, the space is dedicated to uplifting the youth and providing them with a platform to hone their skills. Each month, F City hosts a youth development mentorship programme in collaboration with Growing Alexandra Skate Club, which aims to cultivate growth and creativity among the youth of Jozi.
As this initiative is still relatively new, it is in desperate need of volunteers. Dludla and Rhay encourage anyone with a skillset to share their craft– from skateboarding to graffiti to music. “We’re trying to influence the next generation of kids,” Rhay says.
The event extends beyond just skating; it’s a culture rooted in creativity and artistic freedom. As co-founder of Crispy Skateboards, Kaelik Dullaart says, “It’s the music. It’s the aesthetic. It’s the attitude. It’s the community.”
Drawn together by a love for skating, the space has become more than just an event; it has become a family.
As the sun set, the kids departed as a group back to their homes in town; skateboards ablaze beneath their feet.
Picture of the young skateboarders on Webber Street. Photo: Jamie Ho.
FEATURED IMAGE: Picture of a skater suspended in the air mid-trick. Photo: Jamie Ho.
Joburg Theatre’s Tribute to Hugh Masekela unites and uplifts the community, revealing the enduring and powerful influence of his music.
Joburg Theatre hosts a 4-day concert to honour the legacy of Hugh Masekela.
A lineup of artists delivered heartfelt performances celebrating his music.
The community united to show their love for the cherished musician.
Picture of Zoe Modiga singing at Joburg Theatre on Friday evening. Photo: Jamie Ho.
The Joburg Theatre held a 4-day musical tribute to Hugh Masekela from Thursday April 9 to Sunday April 12, with performances from some of South Africa’s renowned jazz artists including Tresor, Baobab Sisters, iComplete, Vusi Mahlasela, Judith Sephuma, and Zoe Modiga – all to celebrate the legacy of a man affectionately known as Bra Hugh.
Wits Vuvuzela was thrust into the magic of the event on both Friday and Sunday evening. Pulsing through the stage was the rich lifeblood of Masekela’s music. It flowed through the vocals of the performing artists and poured into the crowd creating a tangible, powerful bond.
On both evenings, the theatre was alive not only with the sounds of his music, but with the liveliness of the crowd. People were dancing, throwing their arms in the air, spinning with loved ones. Every hip sway, every chuckle, every cheer: a testament to their love for Hugh.
No longer were we seated in an auditorium, but in a living breathing piece of history. Infected with rhythm, infused with soul, each song trembled with passion, sending ripples across the sea of luminescent faces.
Those that attended the concert were deeply moved by the power of its performances. One attendee, Oratile Morotolo summed it all up saying, “We were witnessing something we had no business witnessing. As though we were seeing something unseen. A transcendent catapult in time.”
Born in Emalahleni, near Johannesburg, Hugh’s passion for music started at an early age. He contributed massively to the struggle movement against Apartheid, with songs like Soweto Blues and Stimela. Most famously he is known for his protest-anthem Bring him Home (Nelson Mandela) demanding the release of Mandela from prison in 1987.
Not only is he a voice for freedom, but a voice for Africa. Every note of his music pays homage to what he describes to be “the wealth of African culture.”
He passed away on January 23, 2018, at 78 years of age. But his soul continues to live on, not only in his music, but in the people as well.
Even as the lights dimmed and the performers took their last bow, there remained something sacred in all of us that night: something that can never die, a heart that will go on beating.
Picture of Hugh Masekela’s famous trumpet. Photo: Jamie Ho.
FEATURED IMAGE: Picture of the stage during the concert at Joburg Theatre. Photo: Jamie Ho
Wits students react to the Zara x John Galliano collab. In a cost-of-living crisis, is the designer label still a status symbol or just overpriced plastic?
Global high-fashion icon John Galliano signs a historic two-year creative partnership with Zara.
Wits students are divided; some chase the ‘status’ of the label, while others slam the ‘tacky’ dilution of luxury.
The rise of high-quality ‘dupes’ and fast fashion collabs is blurring the line between prestige and plastic.
Luxury used to be defined by exclusivity, the rustle of silk, the weight of hand-stitched leather, and a price tag that felt like a gatekeeper. But as Vogue reports about the unexpected two-year partnership between the legendary John Galliano and fast-fashion giant Zara, the golden gates of high fashion have swung wide open. Wits students may be far away from the fashion high streets of Milan or Paris, but they had something to say about the reported collaboration.
The collaboration, set to debut in September 2026, marks the return of Galliano (the former Dior creative director known for theatrical couture) to the mass market.
For Lindani Dweba, a final-year BA student majoring in Politics and HR, the allure is simple: the name. “I would buy for the name,” Dweba admits. When faced with the choice between a R1,800 designer-labelled polyester jacket and a R200 thrifted wool coat, he leans toward the label. “Preferably the label. But luxury is becoming cheapened because of alternatives making the same thing.”
However, not everyone is buying the hype. For Caleb Boroto, a first-year Film and TV student, the collaboration feels “tacky.” Boroto argues that someone of Galliano’s regard partnering with a fast-fashion brand strips away the luxury feel entirely. “Gun to my head, I’d pick the R200 wool jacket,” says Boroto. “I’d prefer to be sustainable and choose something that lasts, like wool or cotton.”
The Reality of Aspiration: Lindani Dweba, a final year student, wears Nike P-6000s (R2,399), which serve as an attainable alternative to luxury items like the Gucci Rhyton sneaker (R21,700). Photo: Daniella Ripamonti
Katlego Hlahla, a third-year Actuarial Science student, echoes this scepticism, noting that luxury prices often feel “unnecessarily inflated” for the quality provided. As Zara’s prices creep up, the lines between ‘high street’ and ‘high end’ are blurred.
The psychology of the label remains a powerful force, even when the quality is questionable. Sephaku Tshoshi and Kirsten Pudi, both fourth-year Accounting Science students, admit they would choose a designer name over a thrifted bargain any day. “I wouldn’t get the same bag without the name, even if the quality was the same,” said one of the students, gesturing to her Ted Baker tote. They noted that the rise of high-quality “dupes” has made luxury more accessible, but also less significant. “People are buying fakes now, even people with money. You can’t tell the difference anymore.”
Psychology Honours students Daiyaan Kahan and Jake Fourie said that “accessibility cheapens the value, but people still buy it for the status symbol.” Fourie, however, sees the positive side, “If it’s more accessible, it’s overall good. More people representing a brand is good for the brand’s expansion” he stated
As the Zara x Galliano collection prepares to hit shelves, the Wits campus remains a tug-of-war between the desire for status and the demand for authenticity. In an era where ‘luxury’ can be bought at the mall in a plastic bag, real luxury might just be the ability to tell the difference.
FEATURED IMAGE: Reframing the Aesthetic: By pairing a sporty PUMA track jacket with tailored pinstripe trousers and formal loafers, Demitri Michaud, a postgraduate student, demonstrates a ‘high-low’ styling approach that mirrors global trends of deconstructed luxury. Photo: Daniella Ripamonti
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, […]
