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
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
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