Thrifting may be trendy, but for many students, it is simply the cheapest way to afford fashion.
Economic necessity and “instant gratification” drive some Wits students to second-hand shopping.
The Matrix’s Zaza Clothing reports its busiest year yet as students ditch retail for quality and affordability.
Hidden online fees and poor garment quality are making global fast-fashion giants less appealing to local youth.
In the heart of Braamfontein, the ‘thrift flip’ is more than just a curated style; it is a survival strategy. As South Africa faces a cost-of-living crisis, students are increasingly searching for the perfect R50 vintage shirt. This shift has turned a trendy pastime into a financial necessity.
While discussions about second-hand shopping often highlight ‘slow fashion’ and sustainability, the reality in hubs like Melville and Braam tells a different story. For many of The University of the Witwatersrand (Wits) students, thrifting isn’t about saving the planet; it is about saving their bank balance.
On the top floor of the Matrix, the energy at Zaza Clothing is a testament to this shift. Since opening in March 2023, owner Ali Monama says business has grown every year, but 2026 is by far the busiest he has seen.
“I chose the Matrix because fashion starts with the youth,” Monama says. He notes that while sustainability is a plus, the economy is the real driver. “Thrifting is critical for the economy right now. People prefer it because modern retail clothes don’t last, whereas vintage leather and denim are pure quality,” he adds.
The price tags at Zaza Clothing offer a stark alternative to the mall, ranging from R20 earrings to R600 Doc Marten boots. The prices are what appeal to students like Thulani Bikili, a second-year civil engineering student. Bikili thrifts twice a month specifically because of the cost-of-living crisis. “Retail stores are just overpriced,” he says.
For some, the appeal is a mix of budget and “instant gratification.” First-year electrical engineering students, Siyamthanda Mazwan and Naomi Makangume, argue that while sustainability is a “secondary perk,” the real win is finding unique items that allow them to avoid “following the crowd.”
Picture of students browsing through a clothes rack at Zaza Clothing. Photo: Daniella Ripamonti
The duo also highlighted the growing frustration with online giants like Shein. Between unpredictable shipping times and hidden customs fees, they’ve started questioning the true cost of “cheap” online hauls. “Is it really cheaper if I’m paying for all these other hidden fees?” They ask. “With thrifting, you get what you buy then and there. You can actually try it on to see if it fits.”
As financial pressures continue to reshape student life, the shift toward second-hand clothing reveals a generation that is becoming increasingly resourceful. Whether it’s to find a one-of-a-kind vintage piece or simply to survive the month, the students at Wits are proving that in the struggle between ethical spending and economic reality, the price tag, and the quality, is winning every time.
FEATURED IMAGE: Picture of sunglasses and ties taken at Zaza Clothing store in The Matrix. Photo: Daniella Ripamonti
What began as a study group is now a campus staple with 200+ orders. Built on brotherhood and faith, Panache is redefining luxury for the Wits community.
On any given day at Wits University, students cross the Library Lawns wearing hoodies and streetwear that stand out in the crowd. Among the sea of fast fashion, certain pieces carry a specific look that has become a staple of the Braamfontein and Wits community aesthetic. This presence belongs to Panache.
But long before it became a growing local brand, it started with something far simpler: friendship. For students Tshepang Rafutho, third-year accounting science, Kevin Radebe, BComHons in insurance and risk management, Thokozani Matyolo, honours in economic science and Tshiamo Ntlemo, third-year accounting science, Panache was never the original plan.
Their story began in lecture halls and shared study groups, where mutual friends brought them together. What started as an academic collaboration evolved into a friendship rooted in shared interests, ambitions and goals.
The brotherhood remains the brand’s anchor. While many student startups buckle under the pressure of balancing business and academics, the four credit their stability to a shared faith.
Rafutho explains, “At the core of it all, Christ has become the foundation of our friendship. That’s our anchor, the rock on which we stand.” It shapes how we move, how we treat each other and how we handle both challenges and success”. This stability allows them to hold each other accountable and push for growth without the work ever feeling personal.
The idea for Panache grew out of a gap they observed in student life. Matyolo said, “There was not much that reflected accessible luxury for students. We felt like students were not given the opportunity to experience quality and an elevated style that still felt accessible”.
Their first release, the “Princess Diana” hoodie defined the brand’s aesthetic. The design features a high contrast black and white portrait of the late Princess in a tiara, set against heavy black fabric with a minimalist ‘P’ embroidered on the sleeve. The turning point arrived when the founders realised the brand was resonating beyond their own social circles, the order list began to feature names they did not recognise. “I would say it was when people not close to us, people who did not have any obligation to support us were buying the hoodies despite not being familiar with the brand” said Matyolo.
Picture of a black Panache hoodie featuring a graphic print of Princess Diana, laid out on a white garden table. Photo: Rearabilwe Tsebela
We officially decided to go for it when we saw the genuine excitement around our very first drop. Before we had even officially positioned Panache as a brand, people were already treating it like one,” said Rafutho. Since its inception in May 2024, Panache has fulfilled over 200 orders, expanding its reach well beyond its initial circle of supporters. For the founders, seeing students wearing their pieces is the ultimate validation. As Ntlemo puts it, “Like ba believe’a mo rena!” (They believe in us).
“The support is a constant reminder to stay consistent and intentional, because every garment worn carries the Panache name and reflects what the brand stands for” said Ntlemo”
However, the vision for Panache stretches far beyond campus. The team is already building Friends of Panache, a creative ecosystem where ideas, can be brought to life through projects and collaboration. “Our goal is to become the bridge for young creatives who have the talent but lack access to opportunities that allow them to build strong portfolios,” said Radebe.
For instance, a student photographer can transition from taking casual photos to leading a professional clothing photoshoot using Panache apparel, while a model can use Panache’s garments to build solid work needed to reach “bigger stages” like mainstream magazines.
For Rafutho, Radebe, Matyolo and Ntlemo, the message to their peers is clear, you don’t have to wait until you have made it with intention. Whether through a garment or a creative collaboration, Panache is about owning your journey in real time.
FEATURED IMAGE:Picture of the four founders of Panache leaning in against a bright sky, capturing the spirit of collaboration and brotherhood behind the brand. Photo: Rearabilwe Tsebela
Wits students win their second film competition despite facing finance, logistics, and resource challenges.
Three Wit students won the Nikon ZR Filmmaker Challenge 2026.
As part of the competition, their film was premiered in the SK IMAX Cinema in the Mall of Africa.
The trio plans to start a joint film company.
Three Wits film and television students won the 2026 Nikon ZR Filmmaker Challenge for their short film, Threads of a Memory, which was screened as part of the competition at the SK IMAX Cinema in the Mall of Africa on March, 24.
The three, Sesethu Ledwaba, Blessing Tsebe and Hanani Mbam were partly sponsored by Nikon South Africa who provided them with a Nikon ZR camera and three lenses.
Photo of the three winners with film equipment. Photo: Zebrena Ralph
The trio told Wits Vuvuzela that they competed against some renowned filmmakers in a selection process that they saw only the best eight films being premiered at the Ster Kineker IMAX Cinema.
They had the task of outsourcing their own lighting and tripods which they got from the Wits Film and Television Department. On top of this, they funded their own transport, props, and food for their crew by doing side jobs as students, completing production in just three days. Mbam told Wits Vuvuzela that, “luckily for me I had been working at my res from January, so at least that money I was able to make made things a little easier.”
This win comes after the trio won the Italian-South African Short Film Competition in 2025 with their film, The Art of Tricolore.
Speaking to Wits Vuvuzela, Tsebe said, “It shows that we are a winning formula to some point.”
Despite the Nikon ZR Filmmaker Challenge not having a cash prize, the trio won the Nikon ZR camera, which is a high-performance professional camera.
“It’s better than money” said Tsebe who added that they plan to use it to create more of their own films as a joint film company.
FEATURED IMAGE: Photo of the three winners with film equipment. Photo: Zebrena Ralph
Rirhandzu Shilubane uses her platform to challenge beauty standards and empower women and children.
In a world increasingly shaped by changing beauty standards where weight-loss culture dominates and more young people feel pressured to change their bodies, Rirhandzu Shilubane is working to rewrite that narrative. When she entered the room, she did so with bright energy and a welcoming smile that immediately put one at ease. She has a presence that reflects both confidence and intention.
Shilubane, is a 24-year-old third-year law student at Wits University. She is also a Top 14 finalist in the Face of Plus-Size South Africa 2026 pageant. For her, the pageant is not about appearance, but about the impact.
“I’ve always known that I wanted to be a vessel of change,” she says. “Even before I fully understood what that looked like, I knew I wanted to work in a space where I could contribute to something bigger than myself- especially in advancing rights and justice.”
Her academic journey reflects this purpose. “I became interested in how laws actually work in people’s lives, how we make sure rights are not just written but realised.”
Her decision to enter pageantry is rooted in deeply personal experiences. Growing up, she often felt excluded because of her body size during pageants at her primary school.
Rirhandzu Shilubane, Top 14 finalist in the Face of Plus-Size South Africa 2026 pageant. Photo: Dzulani Muthaphuli/ Plain World PicturesRirhandzu Shilubane, Top 14 finalist in the Face of Plus-Size South Africa 2026 pageant. Photo: Dzulani Muthaphuli/ Plain World Pictures
“I wanted to be part of something that tells young girls, especially those who look like me, that they are worthy, that they are seen,” she says. “Representation matters. When you see someone who looks like you taking up space, it gives you permission to do the same.”
Through her initiative, Elevate Her and Children, Shilubane has translated advocacy into action, running food and clothing drives, supporting a children’s home, and organising programmes centred on dignity and care.
“Dignity is a basic right,” she says. “Sometimes we think it’s something abstract, but for many children, it’s about being acknowledged, being cared for, being given space to just be children.”
Her advocacy for body positivity is equally extensive. “It’s not just about plus-size women,” she explains. “It’s about everyone. You could wake up tomorrow in a different body, but if you’re not at peace with yourself, nothing changes. Body positivity is about being comfortable in your own skin, regardless of size, shape, or appearance.”
Despite criticism that often surrounds beauty pageantry, Shilubane remains steady in her purpose. “I understand the criticism, because some spaces do reinforce harmful standards,” she acknowledges. “But for me, this platform is about deconstructing those ideas. Even if I only reach one person, if one girl starts to see herself differently, then that is enough.”
Rirhandzu Shilubane, Top 14 finalist in the Face of Plus-Size South Africa 2026 pageant. Photo: Dzulani Muthaphuli/ Plain World Pictures
Her resilience, she says, is rooted in her upbringing. “My mother taught me that when a door closes, you don’t stop- you find another way in,” she says.
Looking ahead, Shilubane hopes to use her law degree to expand access to justice and empower communities through education. “People are not voiceless,” she says. “They have voices, they just need platforms that amplify them. I want to be part of creating those platforms.”
Her message to young women is both simple and profound: “When you fully embrace who you are, you give others the freedom to do the same. And that is where real change begins.”
FEATURED IMAGE: Rirhandzu Shilubane, Top 14 finalist in the Face of Plus-Size South Africa 2026 pageant. Photo: Dzulani Muthaphuli/ Plain World Pictures.
Zama Phakathi has proved that absence does not stop the show, while she is in Paris, her curated art exhibition is underway in Johannesburg.
A new exhibition is showing at Museum Africa.
Various art mediums used to tell a story of black struggles.
Art exhibitions are underfunded in South Africa.
Through photographs, sculptures, gouache on paper, achieved footage and an interactive digital map among other mediums, the struggle of black people is made live and felt deep. Art exhibition, Nkosi Sikelel’ iAzania, by Zama Phakathi, prominent entrepreneur and art curator, opened on Saturday, February 7 at Museum Africa, Newtown.
Some of the pieces are loaned from Rossouw Modern Art gallery, Johannesburg Art Gallery, Iziko South African National Gallery amongst others. Phakathi juxtaposes apartheid with democracy using the works of artists such as David Goldblatt (1930-2018), Jürgen Schandeberg (1930-2020), Senzeni Marasela who experienced and documented apartheid and democracy firsthand. Their work stand alongside the works of much younger artists such as Frans Thoba, Sethembile Msezana and Emma Rodseth-Terblanche who only experienced democracy.
Photographs by Jurgen Schadeberg. Photo: Lulah MapiyeDigital interactive map by Emma Rodseth-Terblanche and Wandile Mthiyane.
Contrasting life then and now, the works zoom into what has changed, what evolved into a different struggle and what remains the same.
Putting together an exhibition in South Africa is a huge challenge due to a lack of funding opportunities said Makgati Molebatsi, art consultant and curator. “Loaning art pieces, ensuring them per their exact value, framing…it all costs a lot of money and for it to run for only three weeks is very unfair,” she said.
Siyabonga Ngwenya, an art enthusiast, attended the opening with her father. She appreciates artists who curate exhibitions like Nkosi Sikelel’ iAzania as she gets to bond and learn from her dad who lived through the apartheid era.
“I like taking my dad to these things, he enjoys going through the pieces with much attention and shares how he remembers things. [Pointing to a train photograph on the wall] like with those trains, he told me they were exactly like that, with black people squeezed together with no breathing room,” she said.
The exhibition runs for three weeks till February 27 and entrance is free.
FEATURED IMAGE: The day Rhodes fell, a photograph by Sethembile Msezane. Photo: Lulah Mapiye
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.
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