Deaf Culture takes centre stage through short films, art exhibitions and visual arts.
The Wits Centre for Deaf Studies hosted South Africa’s Deaf Art and Film Festival (DAFF) on March 28, 2025, at the Space Frame Auditorium on the Wits Education Campus in Parktown, providing a platform for hearing-impaired creatives and storytellers to share their culture, identity, and lived experiences.
Sponsors of National Lotteries Commission by DAFF
The event, sponsored by the National Lotteries Commission, brought together members of the Deaf community, students, artists, academics, and allies for an afternoon that was as moving as it was inspiring.
Despite the absence of traditional sound, the festival is far from silent. It bursts with energy and emotion through visual storytelling and physical movement. Live performances include sign language poetry, visual music, and deaf theatre that incorporates bold gestures, expressive faces, and dynamic body language. Dance groups choreograph pieces to vibrations and rhythms felt through the floor, often using lighting cues and visual effects to guide timing.
A major highlight of the event was the screening of work created by 15 deaf interns, who spent the past six months training in a first-of-its-kind film production internship programme launched by the Centre.
Under the guidance of Nenio Mbazima, video producer at the Centre for Deaf Studies and project lead of the internship, these young filmmakers gained skills in cinematography, editing, and storytelling.“The journey hasn’t always been easy, many of them had never touched a camera before, But these interns showed incredible determination, they’ve grown into confident visual storytellers, and their films are not only technically excellent but deeply personal” said Mbazima.
When asked about the vision behind the event, the director of the for Centre for Deaf Studies and the festival’s lead organiser.
Prof. Claudine Storbeck, explained “This is the first time many of these stories are being told by deaf people themselves, in their own language, on their own terms. It’s about recognising Deaf culture not just as a disability narrative, but as a vibrant, creative identity.”
The short films shown were rich in personal narrative, emotion, and creativity, reflecting stories of identity, everyday challenges, and triumphs of deaf individuals in South Africa. The audience responded with enthusiastic applause and emotional engagement and many visibly moved by the film’s messages.
Nenio Mbazima and two interns Nombulelo Dakayi and Linda Majola by Bontle Malowa
One of the interns, Nombulelo Dakayi, shared how being part of the programme has changed her life.
“I was very shy and terrible at filming, but I never saw myself represented in the industry,” she said through a South African Sign Language (SASL) interpreter. “Now, I feel seen. I feel powerful.”
Another intern, Linda Majola, highlighted the importance of telling stories in SASL, “It’s our language, our voice. It’s how we connect with each other and the world,” she said. “Through film, we can show people what it really means to be deaf in South Africa”.
The festival concluded with a graduation ceremony where the interns were awarded certificates of completion, symbolising not just the end of training but the beginning of promising creative careers.
FEATURED IMAGE: The 15 deaf interns in the arts and film production. Photo: Bontle Malowa
While mainstream media often chases the sensational and the spotlight, Ishan Tankha’s lens seeks out the silenced revealing the lives and stories that slip through the cracks.
The Wits Centre for Journalism hosted independent documentary photographer, Ishan Tankha, on March 4, in a seminar about photojournalism’s preoccupation with the spectacular. Tankha is known for his compelling portrayal of the marginalised and forgotten.
His work, which spans continents, from his homeland in India to the United States, reflects his dedication to telling the stories of those often overlooked by mainstream media.
Tankha’s photographic journey is deeply rooted in his commitment to uncovering the narratives of people caught in the “in-between” — those who are typically absent from the headlines, such as minorities, displaced communities, and individuals enduring the effects of conflict. His focus is on capturing raw, untold stories that challenge perceptions and humanize complex social and political issues.
During his presentation, Tankha spoke candidly about his approach to documentary photography, emphasising that his work cannot be summed up in a single sentence.
Rather than taking a surface-level view of global conflicts, his work delves into the lives of individuals caught in the throes of war, violence, famine, and unrest. What sets him apart is his patience and dedication to his subjects.
He shared that, at times, he spends years observing and building trust with the people he captures, allowing their stories to unfold in a way that goes beyond what is immediately visible. This long-term commitment is essential to truly understanding the nuances of their lives, creating images that resonate deeply with audiences and spark conversation.
Tankha’s exploration of conflict through photography is not just about documenting the chaos but about interrogating the broader implications of these events on human lives. He aims to reveal the extraordinary situations of ordinary people living in extreme conditions. His focus is not just on the grand, often violent narratives of war or famine but on the silent struggles of individuals who are left behind by history, their stories ignored or forgotten by the world.
Having exhibited his work both in the United States and India, Tankha’s photography transcends borders. His powerful images are a call to attention — a reminder that there is always more to a story than what is immediately apparent.
Through his lens, he challenges the dominant narratives of conflict, shedding light on the quiet, complex, and often painful realities faced by individuals who live in the shadows of history. His work is a vital contribution to the world of photojournalism, ensuring that the stories of the most vulnerable are not only told but understood.
FEATURED IMAGE: Motorcyclists in India as seen through the lens of Ishan Tankha. Photo by: Ishan Tankha
Wits University held the annual Fresher’s Party to welcome first-year and returning students to the university. The night was filled with fun and performances by prominent artists such as Focalistic, Scotts Maphuma, DBN Gogo, and many more.
Wits Vuvuzela hit the ground to capture the night, tune in for an experience of fun, laughter, and excitement, ahead of a jam-packed academic calender.
An exhibition of Esther Mahlangu’s work explores themes of cultural identity and timeless creativity.
The first thing that catches one’s attention walking into the Wits Arts Museum is not just any BMW, but a 525i which has been transformed into a canvas of Ndebele motifs. The geometric patterns adorning the car are a signature of Esther Mahlangu’s work, now on display at this exhibition.
Titled, “Then I Knew I Was Good at Painting: A Retrospective,” the exhibition takes the viewer through Mahlangu’s decades-long career and showcases how she has shaped contemporary art, her tradition and culture.
From well-painted canvases to everyday objects reimagined as art – alcohol bottles, construction helmets, and tea containers – Mahlangu’s signature pattern finds itself in unusual places, serving as an exploration of themes such as cultural identity.
Belvedere vodka bottles are designed with Ndebele patterns. Photo: Siyanda Mthethwa.
Beyond the striking visuals, the exhibition also contains quotes from Mahlangu, who explains different phases of her life. One that stands out is her recollection of how she got into painting – she was initially scolded by her mother and grandmother for drawing on the house.
“After that, I started drawing on the back of the house, and slowly, my drawings got better and better until they finally asked me to come back to the front of the house. Then I knew I was good at painting,” reads Mahlangu’s quote.
Nontobeko Ntombela, the curator of the exhibition, spoke at length about Mahlangu’s work and its influence on contemporary art. “She was able to show the world two key things for me…showing the expansion of visual arts, that arts don’t derive from the West,” said Ntombela.
The primary vision for the exhibition was to “pull people closer to the detail of the art and to the detail of the artist,” Ntombela wanted viewers to understand the contributions made by Mahlangu instead of seeing her in a general way.
Freshpak rooibos containers are designed with Ndebele patterns. Photo: Siyanda Mthethwa.
Among Mahlangu’s most iconic works is the coated BMW 525i, a project which first gained international recognition in 1990, when it was returned to South Africa from the BMW museum in Munich after 30 years.
Mahlangu’s BMW design is significant because despite growing up in a rural area, she was approached by a prestigious company to design the car in a still segregated South Africa.
Ntombela is also working on a book which is an extension of the exhibition. “The book becomes a story that gives us the anecdotes of how she forged her career to be relevant. The book becomes the story of how other people give testimonies about meeting her,” said Ntombela. She continued, “We have experiences in the archive of her going into these different parts of the world painting private homes as well as institutions.”
Ntombela hopes to release the book before the end of the year, while the exhibition will stay in the Wits Arts Museum until April 17, 2025.
FEATURED IMAGE: BMW 525 designed with Ndebele patterns, by Esther Mahlangu. Photo: Siyanda Mthethwa.
Social media can be a powerful catalyst for social movements has sparked revolution, amplifying voices for social justice and transformation.
Serving both as a reflection of societal values and a powerful tool for shaping public opinion and mobilising change, pop culture to me is the collective creativity and imagination that shapes my identity and influences my daily life.
From music and film to fashion and social media, pop culture also actively contributes to the evolution of social movements, often accelerating their impact and broadening their reach.
However, the advent of social media has really revolutionised the landscape of social movements in South Africa. Platforms like TikTok, Twitter, Facebook, and Instagram have provided new avenues for activism and engagement between citizens, influential figures, and government too.
Social media as an extension of pop culture has profoundly shaped how I speak, write and interact with people. It has introduced me to new words, phrases and expressions that I have adapted as part of my everyday vocabulary. From using common slang and interacting with memes, it has constantly been evolving and influencing my social life.
Every now and then, a new word or phrase explodes on TikTok. Suddenly, it’s all anyone can say. A relevant example is the current Tiktok trend started by Joolie Lebron of “very demure, very mindful”. This is because the trend has expanded my vocabulary, exposing me to the word as a synonym for modesty, something that would have likely remained unknown to me.
Another example of the power of social media in contemporary South African activism, was the #FeesMustFall movement, which began as a student-led protest against rising tuition fees is evidence of such power.
The singing at protests, livestreamed and tweeted updates and meetings, not only made the protests more visible but also underscored the cultural significance of the struggle. The movement, which gained momentum through online campaigns, brought thousands of students from behind the screens of their phones out onto the streets, leading to significant discussions and policy changes regarding higher education funding.
Similarly, social media has been instrumental in the #TotalShutDown movement, which seeks to addresses gender-based violence (GBV) and femicide. Digital platforms were used to organise protests, share survivors’ stories, and advocate for legislative changes. The ability to mobilise rapidly and engage a wide audience demonstrates the transformative potential of social media, the icon of pop culture, in driving social change.
While pop culture has proven its worth in society, it also faces challenges. The commercialisation of activism, where social issues are turned into marketable products or trends, can dilute the core messages of movements.
An example is how GBV and women equality is a serious social issue in the context of SA and so often, companies do not necessarily make active steps to address these issues but year in, year out they will go on these campaigns of 16 days of activism and about women’s month.
A recent example of this is the e-hailing service, bolt. In South Africa, bolt is infamous for drivers beating, kidnapping, raping and stabbing unsuspecting riders. Yet yearly, they always have a women’s day and a 16 days of activism campaign running. Promos are given to female clients during women’s month by bolt, yet the on-going violence between drivers and female passengers that have been reported are not addressed swiftly.
This commercialization can shift the focus from advocating for substantial policy changes and addressing systemic issues to merely capitalizing on a trendy cause.
Additionally, the rapid spread of information on social media can sometimes lead to misinformation or superficial engagement with complex issues.
Social media is a potent force in shaping social movements by amplifying marginalised voices, challenging societal norms, and promoting collective action. Its ability to engage large audiences and frame important issues in accessible ways makes it a crucial element of modern social movements.
Although braiding is frequently thought of as a protective hairstyle for Black females, its importance goes well beyond aesthetics, it encompasses identity and resistance.
For thousands of years, African culture has been deeply rooted in the ancient art form of braiding. The elaborate designs and patterns are a visual depiction of community, identity, and spirituality that have been handed down through the ages.
Ancient Africans held braiding to be a highly esteemed art form, frequently practiced by elders and spiritual leaders. Braids were employed by several tribes as symbols of social standing, spirituality, and life events. For instance, the Yoruba tribe saved elaborate designs for kings and spiritual leaders, signifying power and distinction, while the Maasai people used braids to symbolise age, marital status, and spiritual development.
The Himba people also braided their hair with beads and cowry shells to symbolise their ancestry and the harmony of nature. Significant life events such as puberty, marriage, and maternity were commemorated by the Zulu tribe using unique braiding patterns. These many braiding customs had something in common, demonstrating the profound cultural and spiritual significance of braiding in African communities.
A picture of a student getting her hair braided at a salon in Braamfontein. Photo by: Katlego Mtshali
It is said in a Dope Black CIC article how Black slaves in the United States were subject to regulations on their hygiene and appearance during the time of enslavement. Nonetheless, hair braiding continued to exist as a means of cultural preservation and resistance. Women under slavery would braid each other’s hair in elaborate patterns and designs that not only honoured their culture but also provided a means of communication and escape for fugitives.
Hair braiding remained essential to Black cultures even after slavery. Black people started using braiding as a means of expressing their cultural past, reclaiming their identity, and defying Eurocentric beauty norms. Braids and other natural hairstyles became symbols of Black pride and a refusal to assimilate during the civil rights movement of the 1960s.
In South African schools and corporates, braids have sometimes a site of conflict. Recently at LD Moetanalo High School in Mhluzi, a teacher was suspended for forcibly cutting a student’s braids off in class. While the incident at LD Moetanalo High School is still being investigated, it underscores the ongoing need for schools to foster cultural inclusivity and acceptance, ensuring that students’ cultural expressions, including traditional hairstyles like braids, are valued and respected
For Takalani Netshiavha, a third year LLB student at Wits,” braiding has become a part of my identity as a black woman. When I braid it improves my confidence and self-esteem immensely because I feel more beautiful.”
Anne Tsheshe, a Cameroonian braider in South Africa, finds joy in creating a special bond with her clients, understanding their hair textures and needs. Her favourite part of braiding is “When a young Black girl’s face lights up with uncontainable excitement and joy, beholding the magic my skilled hands have created.”
Braiding has become a lucrative venture for many Black women in South Africa, extending beyond formal salons. Informal braiding services on street corners and markets have created income opportunities and has empowered women while fueling a thriving industry that balances cultural preservation with economic gain.
Even for those who move overseas from Africa, finding a salon where their hair can be braided is essential. Sharon Nawaya said to Wits Vuvuzela: “My move to Texas from South Africa was first daunting because I struggled to find a salon that caters to the texture of my hair and find someone who could do my knotless braids but eventually, I found a salon that caters to African hairstyles.”
Cornrows braided with care, worn with confidence. Photo by: Katlego Mtshali
For some, braiding is an art and skill worth passing on. “Braiding will always be an integral part of me. When I have a daughter, I will pass on the skill to her, requiring a tender touch and understanding of her hair texture that I have acquired over the years.” says Lesedi Mashinini.
Sisterhood and community bonds are forged and strengthened during the braiding session. Ikageng Molokomme an honours student studying Marketing told Wits Vuvuzela that she views braiding as” a symbol of sisterhood and community. When we braid each other’s hair, we’re not just styling braids we are strengthening bonds and creating memories. “
Designers have been using braids in runway shows and collections, which can be seen in the following Vogue article, and they have been a mainstay in the fashion world in recent years. In the fashion industry, diversity and inclusivity have been aided by this embrace of culture. But it is crucial to recognise the cultural value of braiding and to inform people about its background and significance.
It is imperative that the cultural legacy of braiding be preserved and transmitted to the next generation as we move forward. A few methods to guarantee the art form’s survival are workshops, classes, and online tutorials.
Thus, despite the misunderstanding sometimes, braiding is a sign of solidarity, identity, and cultural legacy for Black women and goes beyond just a hairdo. For millennia, it has served as a tool for self-expression, resistance, and fostering community. It is crucial to recognise and honour the significance of braiding in Black culture as we continue to negotiate the complexity of modern life. By doing this, we can encourage more tolerance, variety, and understanding, preserving braids as a potent representation of Black pride and unification.
FEATURED IMAGE: Female getting braided in the heart of Braamfontein. Photo by: Katlego Mtshali
The practice of architecture and art can oftentimes intertwine, and this exhibition used that fusion to express the intricacies of migration.
On Saturday, August 24, the Keyes Art Mile welcomed a panel of architects and artists to discuss their Narratives of Migration exhibition. Shared stories of migration, the artists’ relationships with the land and the world around them were explored through art and architecture.
The panel consisted of four women architects who had individual pieces in the exhibition. The exhibition opened on August 1, 2024, at Gallery 1 of Keyes Art Mile. The exhibition took pieces from the ‘Biennale Architettura 2023’ in Italy, where all four architects previously displayed their work.
The exhibition opened with renowned architect Kate Otten’s piece Threads which looked at the history of mineral extraction and mining in South Africa, leading to mass migration in the country and Southern Africa at large. The large, spiral structure was adorned with multi-colour pieces of thread and beads that each represented the different parts of the landscape, telling the story of how Johannesburg came to be.
Kate Otten’s Threads display, highlighting the mineral extraction in South Africa that led to mass migration. Photo: Kamogelo KungwaneGugulethu Mthembu’s installation at the Keyes Art Mile, expressing gender disparities in society. Photo: Kamogelo Kungwane
“Threads is a simultaneous telling of many stories, intuitive readings of landscapes and social geographies told through age-old traditions of craft and making, narrated by women,” she said about the project.
The second installation by Kgaugelo Lekalakala, was titled ‘Tales of the Vulnerability of African Women in Transit’. This photo and video piece explored how women’s bodies migrate between the spaces, from rural to urban, and how women can feel unseen and violated in all the spaces they migrate to.
She referenced the feeling of vulnerability in her piece and used her experiences of having to use long-drop toilets in her family’s rural home as a metaphor for that vulnerability. “This is just a space of how when you enter into this space, especially as a woman, you have to grapple with how you aim, how you place yourself and how you try to use this space,” she explained in the panel discussion.
The panel moderator and architects and artists who displayed their art. From left to right, Kgaugelo Lekalakala, Gloria Pavita, Gugulethu Mthembu and Kate Otten. Photo: Kamogelo KungwaneAn audience member at the exhibition asking a question to the panel. Photo: Kamogelo Kungwane
The exhibition continued with two more pieces by Gugulethu Mthembu and Gloria Pavita, with The Tale of Aicha Qandisha and na Bulongo [with soil] respectively.
Mthembu’s piece looked at redressing the legacies of female oppression, with direct reference to her experiences. She spoke of seeing the women in her life “shrink themselves” for the men in their lives while the men never did. Her large wooden structure with colourful projections and barbed wire was a comment on societal gender inequalities.
Pavita’s na Bulongo film piecetranslates to ‘with soil’ from Swahili, and it expresses ideas of reclamation and repair through soil. In the film, her time in her late grandmother’s garden as her first experience with architecture. The varied mounds of soil refer to soil as a connection between history, people and where they come from.
“We all keep returning to the places that we come from,” she said, at the panel.
This was a sterling showcase of artistry and a great look at the beauty of women’s work. The exhibition’s panel of accomplished architects and artists helped to drive home the stories of each piece. Narratives of Migration and Reclamation had its final showcase at the Keyes Art Mile on August 24.
FEATUED IMAGE: An audience seated at the Keyes Art Museum to listen to the panel discussion about the migration exhibition. Photo: Kamogelo Kungwane.
A compelling piece that takes the reader into the minds of South African serial killers through narrative psychology.
On Saturday, 17 August 2024, the Wits Origin Centre hosted the launch of a book titled Killer Stories written by psychologist Brin Hodgskiss and Nicole Engelbrecht, which uses the stories of serial killers to explore their psyche.
Hodgskiss interviewed several serial killers to tell their own version of events. He then applied the principles of narrative psychology to help the reader get a glimpse of how the individuals think, using his role as a psychologist to better understand them.
In his conversations with the serial killers, Hodgskiss learnt that the environment played a huge role in the way that these individuals turned out. He also noted that many of them had a misogynist outlook that made it difficult for him to bear and listen to.
While writing, Hodgskiss realized that “the role that was played by the stories I told myself about myself was part of the problem.” He added, “I noticed amongst all the serial murderers I spoke to was the power that their story has.” These stories that serial killers told to themselves about their place in the world “influenced the crimes they committed”.
Hodgskiss was joined by the curator of the Wits Origins Centre Dr Tammy Reynards and Wits academics Beth Amato and Dr Sahba Besharati who formed a panel to discuss crime, trauma, and healing in South Africa.
Speaking to the audience, Hodgskiss explained his journey prior to writing the book, stating that it all started when he was part of a team at Rhodes University that went to Grahamstown to help the police with identifying offenders. This led him to different maximum-security prisons, where he interviewed serial killers.
Nichole Engelbrecht, the host of True Crime South Africa, a victim-focused true crime podcast, invited Hodgskiss a guest on an episode after reading his research on ‘Lessons from serial murder in South Africa’. The two managed to maintain a relationship that resulted in them agreeing to write a book together which was completed in just nine months.
The book comes at a time where South Africa is experiencing a high crime index. According to South African Police Service statistical report for 2023/2024, there were 27, 368 recorded cases of murder, meaning that an average of 75 people were murdered every day in that period. The annual crime stats are due to be released next week, and one can only hope that a less chilling picture awaits.
Nevertheless, this book helps bring to the forefront that the lived experience of serial killers and their understanding of their role in society play a huge role in their destiny.
FEATURED IMAGE: Left to right: Brin Hodgskiss, Sahba Besharati & Beth Amato. Photo: Siyanda Mthethwa.
Sibusisiwe Manqele, a Wits alumnus, walks us through her journey as a prominent creative in the entertainment industry.
A powerful voice, creative vision and a vibrant personality are the qualities that make Sibusisiwe Gugu Manqele an innovative storyteller.
From doing voice-overs for numerous brands and writing scripts for popular South African TV shows such as Gomora, House of Zwide and currently Skeem Saam, Sibusisiwe continues to establish her as a prominent force in the industry.
Sibusisiwe grew up in Ulundi, Kwazulu-Natal which is where her love for storytelling began. Her upbringing involved long commutes from home to school with private scholar transport and the other passengers were her first storytelling audience.
“These were spaces for creating stories because we’d have 30 (minutes) plus commute when I wasn’t in boarding school, and they’ll just be stories. As kids you just find things to pass time and part of that is storytelling,” she said.
This passion for storytelling drove her to want to study at The School of Arts at Wits University. She applied for a Bachelor of Arts in Dramatic Arts (now known as Theatre and Performance), a position she had to audition for despite having no prior experience in drama. “I decided to adapt a novel that I was doing and it’s only now when I think about, oh my gosh, that was the writer in (me)”. This adaptation impressed the markers and got her into the programme.
Against the recommendations made by her course coordinators, Sibusisiwe also did Television and Film, which would often clash with Dramatic Arts classes. “My friend and I had this thought that, ‘No man, we can’t be waiting for acting. When acting is not moving we need to be behind the scenes’”.
Manqele found her first time at Wits as a journey that allowed her to understand the arts and provide her with a network of other creatives, especially as a person who did not have the same artistic background as her colleagues.
After completing her majors in 2012, she spent seven years in the industry trying to get into different types of entertainment, such as lifestyle and reality shows. In 2019, she decided to pursue an Honours Degree in Creative Writing at Wits University which she felt helped her get into more linear, fiction storytelling.
Sibusisiwe Manqele is more than just a script writer but also a businesswoman and innovator at heart. She is the founder of CONTENTWOOD, a production company which tells stories “That give voice to narratives that you don’t always see”, and a part of these narratives involve the empowerment of women.
The company’s first and only short film, Questions, was an experimental film taken from poetry, looks at mental health and the experiences of black women. Manqele had the privilege of presenting the film in Paris at the Communicating Multi-Modally: Research & Expressive Culture in May 2022.
Manqele has had an illustrious career which has been topped off by her being listed as one of Mail & Guardian’s Top 200 Women in South Africa in 2023. When asked to share wisdom for Witsies and aspiring creatives she shared that knowing oneself is the secret and beginning of all wisdom. “And then knowing what you have to give to the world and leveraging that and making the world a better place through that service.”
In a time where the second semester is starting to get the ground running, Wits students can look to Manqele as a beacon of hope for what’s to come from hard work.
FEATURED IMAGE: Sibusisiwe Gugu Manqele. Photo: Skinnie’s Gallery.
Here’s what to expect from airlines if your trips are ever forcefully put on hold, and how to arrive at your destination without too many battle scars.
Besides the obvious inconvenience caused by delayed and cancelled flights, the process of rebooking can be equally stressful . I was recently in this situation, and I couldn’t help but worry that making the wrong move, or taking too long figuring things out might leave me stranded in a foreign country. In this guide I will explain how not to make the same mistakes I did in my recent travels.
During the winter break, I went to visit my family in Italy and was meant to return on Sunday July 14, the day before third term. However, because of air traffic at Zürich Airport, I missed my connecting flight back to Johannesburg. Twelve hours of travel turned into sixty, and I only arrived on the morning of Wednesday July 17.
The suitcase, boarding pass and South African Passport I had with me all times during my delay. Photo: Tristan Monzeglio
In a situation like this, the first thing you should do – besides trying your best to keep calm – is understand your rights as a passenger. Depending on where in the world you’re flying and who regulates said region, you can expect differing forms of compensation if your travels are delayed for an extended period.
For example, according to Regulation (EC) No 261/2004, when flying from European Union (EU) countries, or with EU-based airline carriers, you’re entitled to between EUR 200 and EUR 600 in compensation. This depends on the distance of your flight, as well as if you can prove that your carrier was at fault for the delay, and not due to an “extraordinary circumstance”. Unfortunately, because of this legal loophole, my compensation is pending indefinitely.
Now that you know what you’re entitled to, ask a flight attendant where the nearest transfer desk is (there may also be an airport map you can download to help you navigate any winding corridors and sprawls of other lost passengers). Transfer desks are where you report your situation and request to be rebooked, if you haven’t been automatically rebooked by your carrier.
On that note, transfer desks are the worst part of any airport, only really serving frustrated travellers desperate to get home. Bickering, insults and profanity surrounded most of the transfer desks I encountered, as well as swells of queue-cutters and exasperated faces. I was automatically rebooked by my carrier, Swiss Air, but I still needed to find the transfer desk because I had mistakenly been re-routed to Johannesburg via John F. Kennedy International Airport in New York.
Thankfully, I instead ended up heading home via Addis Ababa, and arriving in Ethiopia was like a breath of fresh air in comparison to Zürich. The Swiss are notorious for their administrative ability, but, in my experience, the lack of organisation mixed with a widely shared superiority complex amongst many Swiss Air employees made my time in Zürich excessively grating.
My layover in Addis Ababa, however, was markedly more positive. Efficient and friendly service made the twelve hours spent in Ethiopia fly by. Ethiopian Airways have won best African airline seven years in a row and, in my experience, their attention to detail and care for their clients put Swiss Air to shame.
As confused travellers, there is a tendency to allow those who are in charge to dictate your experience. Following these steps may help you regain some semblance of control in the chaos that consumes all airports. Learning from my own missteps, I hope I have been able provide some guidance and respite to any other novice travellers who might feel lost or overwhelmed.
FEATURED IMAGE: Example of a Flight Information Display System (FIDS) in an airport. Photo: Adobe Stock
The inner-city housing crisis and the plight of the marginalized was in the spotlight in a powerful tale of humor and tragedy.
‘Kwa’Mnyamandawo’ is the seventh play by ‘Kwasha! Theatre Company’ which ran at Market Theatre from July 18-21, 2024.
It follows an investigative journalist named Penelope seeking to uncover the truth behind the housing crisis in Hillbrow through the help of a local tour guide. Her findings reveal a story of corruption and human neglect indicative of life in the inner city.
As one walked into the theatre, they were met by two walls with faded paint and exposed brick, one bearing the words ‘kwa’mnyamandawo’ or ‘the dark place’ spray-painted across it. Below, litter was scattered across the floor and a projector played real Eyewitness News coverage of a building fire in the background. This set the tone for what was expected to be a bleak telling of inner-city trauma.
Speaking to cast member Wenziyweyinkhosi Myeni, she says: “It’s about time that we start seeing stories we’ve never seen before. You may look at the buildings and the people that come from there and think their stories don’t need to be told, but those are the exact stories that need to be told!”
However, the hour that followed was anything but. As the lights dimmed and the projector cut, the audience’s silence was met by the harmonizing of the four-cast ensemble as the tour guide delivers a dispassionate sales pitch of Hillbrow. “Brothels and strip clubs make perfect for first dates!’” he proclaims to a snickering audience.
Dance and humour was a feature throughout Kwa’Mnyamandawo. Photo: Kabir Jugram
But the laughs would not end there. From the exaggeration of the swaggered walk of boys that don sporties (bucket hats) and studded earrings to the impersonation of rude yet clueless cops, the characters on display were caricatures of people we all know and see daily. Pair this with continuous choreography and melodies backing even the most mundane scene of daily routines of those in hijacked buildings, and daily life in the inner-city was splashed with colour.
Yet the consistent humour would not belittle the gravity of the play’s theme. As the play ends- after the police burn down an occupied hijacked building to conceal evidence of a syndicate – the lights dim, the actors turn to the projector and footage of real interviews with fire survivors plays, a reminder that the themes illustrated in the play are in fact a reality for many.
The play ends with real footage of a building fire being projected in the background. Photo: Kabir Jugram
Cast member Xhamla Samsam stated: “humour (is) the way of nursing the real wound that lies behind”. And that is exactly what this play is all about- using humour to make sense of trauma, the only way us South Africans know how. The result of this is a play that is complex yet digestible, relatable and unapologetic in its messaging.
Vuvu rating: 9/10
FEATURED IMAGE: The tour-guide and journalist engaged in argument. Photo: Kabir Jugram
Many traditions and cultures have subconsciously aided the wellbeing of one’s mind through music and sound.
A neurologist and music psychotherapist tackled the maze of the mind together on Saturday, May 18, 2024, at the Wits Origins Centre through a mental wellness and brain health seminar on International Museum Day.
Human brains have a potential that is unfathomable, and whilst people think we only use 10% of our brains at a time, they are mistaken.
Most of our brain is being used most of the time, even while sleeping, and over 85 billion neurons in our brains are always firing some sort of signal.
However, with all this brain power comes the largest emotional intelligence amongst all mammals. This EQ of humans is the area studied by neurologist and brain health specialist, Dr Kirti Ranchod, and music psychotherapist, Nsamu Moonga.
Music psychotherapist, Nsamu Moonga, leading the audience through a series of musical workshops to release their inner voice and learn to trust in a collective conscious. Photo: Victoria HillDr Kirti Ranchod during her seminar at the Origins Centre, speaking about all things brain health and wellness. Photo: Victoria Hill
Music is all around us — at birthdays, funerals, weddings, political rallies — and each scene sounds very different from the next, which is a subconscious understanding, Dr Ranchod explained.
Dr Ranchod said music is linked to both memory and emotion. When a person hears a specific song, they relive a specific experience, which leads to them feeling a specific emotion.
This is the basis from which Moonga bases his therapy techniques. He explained how humans forget things as a survival technique yet create rituals to ensure they do not forget what is important — the earth rotating completely around the sun, a human life ending, a life of two people beginning for instance.
Yet, Dr Ranchod said how music is exceptionally personal where one type of tune will relax someone whilst it will trigger another. .
To pay homage to International Museum Day, Dr Ranchod spoke about the San Trance Dance which is one of the earliest rituals known to date that used music to bind a group together.
The Trance Dance is a permanent feature at the Origins Centre — which traces human life back nearly two million years — because it sees the beginning of humans living in communities and activating their energies to connect with the spirit world.
With sound, rhythm, movement, and dance used to alter reality, shift consciousness, and change perception, this was the start of music therapy in practice.
Museums document the history we all share and allows for the interception of the past, present, and future. They allow us to understand who we are, where we come from and are the physical pallbearers of memory.
FEATURED IMAGE: Modern-day rock art as appearing in the Origins Centre to showcase how the past is still very much in the present. Photo: Victoria Hill
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