Wits postgraduate students tackle a conversation on black masculinities in South Africa, examining the impact of apartheid, absent fathers, and social pressures.
Book club dives into Dr. Malose Langa’s, “Becoming Men: Black Masculinities in a South African Township.”
Langa examines the lives of 32 young boys living in Alexandra, over 12 years.
Panellists highlight the performative nature of both masculinity and femininity, signifying the need to create ‘safe spaces’ for positive self-expression.
For their first pick, the Division of Student Affairs’ Postgraduate Book Club, discussed Senior Psychology Professor, Dr. Malose Langa’s book, ‘Becoming Men: Black Masculinities in a South African Township.’
Langa’s work looks at a study done, from 2007 to 2018, on 32 boys from the Alexandra township. In chapter one of his book, ‘What makes a man a man’, Langa starts with the grim environment, “The place is overcrowded and underserviced, and poverty, violence, and crime are rife.”
Through his study, Langa examines how masculinities were understood and formed over time, and the roles these developments played in negative masculine outcomes, such as abuse against women and other men, alcoholism, gangsterism, and more.
“If crime is being committed by young males, then it means that young males are who we need to focus on, and that’s how the journey started,” said Langa on the night.
Through stories like that of Hilton, a young boy who struggled with his sexuality, Themba, a teen father who fought for a relationship with his daughter, and Simon, the youngest son of four who tried his hardest to reject the norms that took boys down dangerous paths, we learnt about how masculinities in a township are a performance.
In the chapter titled ‘Backdrop to Alex – South African Townships and stories in context’, Langa explained that through a community’s fight against the Apartheid regime “various other forms of violence also increased in townships, including violent crimes …[the] rise of the ‘jackrolling’ phenomenon, whereby gang members committed violent crimes that included harassing, kidnapping and raping young women.”
Iracelma Adriano, a BSc Honours student in Geography at Wits and panellist at the book club, said, “There was a time in the book where the boys actually had to take photos with their disposable cameras and then they had one-on-one interviews with prof and they showed parts of their daily life, what was important to them, and afterwards there was a focus group and now they had this pressure of other men around them, and what they shared was different, and this to me just solidified the idea that masculinity and femininity are things that we perform, they are not inherent or fixed constructs.”
Reading these stories and appreciating the personal journeys of these boys exhibits how masculinities are shaped by historical forces and the subsequent social expectations that arose. Langa’s study reflects a key idea within feminist thought – that gender identities are not predetermined but constructs of society, politics, and history.
To dive deeper, specifically for the context of this book, one must look at the intersectionality discussed by the feminist movement, which recognises that identities are also shaped by one’s experiences and influences. Absent fathers and the vacuum mothers fill was one of the issues discussed. While mothers were credited with helping boys understand their emotions, the flip side was that this was trumped by the societal expectations to be more masculine, ‘Jaro-boys’, who were sexually successful with girls, defining them as men.
Langa’s book ends with a call for the urgency to create ‘safe spaces’ for ‘listening, hearing, and action’, calling for proactive educational measures, encouraging conversations around masculinity, and support for mothers as role models for emotionally healthy sons.
To end the book club’s discussion, the professor emphasised that the “responsibility is on all of us, what is it that you are doing in your private space?”
FEATURED IMAGE: Dr. Malose Langa’s book, “Becoming Men: Black Masculinities in a South African Township.” Photo: Ekta Seebran
Paige Harvey, a Wits graduate on a mission to spark change, one crown at a time.
Harvey posing atop the Great Hall steps after her graduation. Photo: Supplied/Rendaldo Verde
Beyond the Miss Soweto crown, Paige Harvey’s quest is for purpose and impact
Beauty, brains and a desire to make a difference
The Miss Soweto winner has eyes set on the Miss SA 2025 crown
In a world where traditional paths are often expected, Paige Harvey stands out as someone who has seamlessly transitioned from the world of diplomacy to the glamour of beauty pageants.
As a Wits University international relations graduate, Miss Soweto 2023, and a contestant for Miss South Africa 2025, Harvey’s journey is more than just a career shift. It’s a testament to her passion, determination, and multifaceted talent.
Paige grew up in Eldorado Park, Soweto, where her love and passion for modelling started. “I have entered Miss SA 2025 to stand as a beacon of hope, pioneering positive change in the mindsets of the youth. As South Africa prepares to host a G20 summit, the world is turning its eyes to us, this is more than a political moment; it is time for us to showcase the strength, resilience, and brilliance of our people,” she said.
From a young age, Harvey was fascinated by how countries interact and how policy shapes lives. “Studying international relations at Wits gave me the academic ground to explore complex topics and sparked a deeper desire to be part of the solution,” said Harvey.
Pageantry became a platform where Harvey could merge beauty with purpose. “I realized that pageants could elevate voices and causes,” she explained.
Harvey doesn’t see her academic and pageant personas as separate entities. “Both require discipline, confidence, and authenticity,” she said. Her academic journey grounds her, while pageantry empowers her to express that foundation publicly.
Harvey has faced her fair share of challenges, from balancing self-doubt and public expectation to navigating scrutiny and criticism. But she’s learned to stay rooted in her purpose and protect her peace. “I remind myself that I’m not just doing this for applause, I’m doing it for impact,” she said.
Paige Harvey taking the Miss Soweto 2023 crown. Photo: Supplied
One of the most impactful moments for Harvey was when she spoke to a group of schoolgirls about self-worth and purpose during Miss Soweto 2023. “One of them later told me that hearing my story gave her courage to apply for university,” she recalls. “That moment reminded me why I do pageantry – it isn’t just about the crown, it’s about connection,” said Harvey.
Her advice to young women pursuing multiple passions is simple: “Don’t let society box you in. You are allowed to do many things – smart, stylish, strategic, soft. Own every facet of your identity and don’t be afraid to show up fully.”
As she looks to the future, Harvey Paige hopes to continue competing on international stages and using her platform to spotlight youth empowerment and African excellence. She envisions a career that merges diplomacy, media and humanitarianism.
FEATURED IMAGE: Paige Harvey’s Miss SA 2025 entry picture, Photo: Supplied/Rendaldo Yarde
Ten years after students demanded change, The Fall is back on stage, bringing the unfinished fight for free, decolonised education back under the spotlight.
The play returns to The Market Theatre, features three original cast members and new talent.
Performances ignite the stage from April 9 to May 4.
A post-performance dialogue raised the uncomfortable question “was it worth it?”, as students continue to face barriers to decolonised and accessible education.
A powerful reimagining of The Fall, an internationally acclaimed protest play, opened at The Market Theatre in Johannesburg on Wednesday, April 9. The award-winning production challenges systemic oppression by spotlighting the voices and experiences of students who, in 2015, took to the streets demanding that the government make good on its promise to open the doors of learning and culture.
The play was originally created by eight University of Cape Town students in the aftermath of the #RhodesMustFall movement and the toppling of the statue of colonialist Cecil John Rhodes. Running until May 4, the new production is being presented by theatre company, The Theatre Duo, and Wits Drama for Life. It reunites three of the original student creators with a fresh cast, reworking the script and staging for a new generation of audiences still grappling with access and transformation at universities.
Opening night’s post-performance dialogue brought these issues to life. Wits University student Mzizi Khulu said, “We’re inheriting the same mentality of our forefathers. We’re still complaining, striking, and protesting. Do we really feel that Fees Must Fall mattered at all?”
Conversely, University of Johannesburg student Mpho Moilwa said, “We’ve been trying, we’ve been striking, we’ve been putting our bodies on the line for this movement, and nothing is changing.”
Students have their say on the impact of the Fees Must Fall movement. Photo: Mbali Khumalo
The Fall’s raw, collaborative format brings authenticity to the stage, blending personal testimony with performance. Sizwesandile Mnisi, original writer and cast member said, “When we first wrote this play, we inserted a lot of ourselves, along with research and archetypes that we saw in the movement. Doing this play ten years later, I too feel a sense of hopelessness that it can still speak so loudly. It’s beautiful that it resonates, but it’s also a problem that it does.”
Audience member Philadelphia Sithole emphasised the importance of theatre in recording our history. “We almost forgot Fees Must Fall. This piece is so powerful because it forces us to question what kind of society we want to have,” she said.
The Fall is a powerful reminder that the fight for access and decolonisation in higher education is still unfinished.
FEATURED IMAGE: Drama for Life Creative Research Hub Director, Hamish Mabala Neill, facilitates the post-performance dialogue. Photo: Mbali Khumalo.
Deaf Culture takes centre stage through short films, art exhibitions and visual arts.
The Wits Centre for Deaf Studies hosted South Africa’s Deaf Art and Film Festival (DAFF) on March 28, 2025, at the Space Frame Auditorium on the Wits Education Campus in Parktown, providing a platform for hearing-impaired creatives and storytellers to share their culture, identity, and lived experiences.
Sponsors of National Lotteries Commission by DAFF
The event, sponsored by the National Lotteries Commission, brought together members of the Deaf community, students, artists, academics, and allies for an afternoon that was as moving as it was inspiring.
Despite the absence of traditional sound, the festival is far from silent. It bursts with energy and emotion through visual storytelling and physical movement. Live performances include sign language poetry, visual music, and deaf theatre that incorporates bold gestures, expressive faces, and dynamic body language. Dance groups choreograph pieces to vibrations and rhythms felt through the floor, often using lighting cues and visual effects to guide timing.
A major highlight of the event was the screening of work created by 15 deaf interns, who spent the past six months training in a first-of-its-kind film production internship programme launched by the Centre.
Under the guidance of Nenio Mbazima, video producer at the Centre for Deaf Studies and project lead of the internship, these young filmmakers gained skills in cinematography, editing, and storytelling.“The journey hasn’t always been easy, many of them had never touched a camera before, But these interns showed incredible determination, they’ve grown into confident visual storytellers, and their films are not only technically excellent but deeply personal” said Mbazima.
When asked about the vision behind the event, the director of the for Centre for Deaf Studies and the festival’s lead organiser.
Prof. Claudine Storbeck, explained “This is the first time many of these stories are being told by deaf people themselves, in their own language, on their own terms. It’s about recognising Deaf culture not just as a disability narrative, but as a vibrant, creative identity.”
The short films shown were rich in personal narrative, emotion, and creativity, reflecting stories of identity, everyday challenges, and triumphs of deaf individuals in South Africa. The audience responded with enthusiastic applause and emotional engagement and many visibly moved by the film’s messages.
Nenio Mbazima and two interns Nombulelo Dakayi and Linda Majola by Bontle Malowa
One of the interns, Nombulelo Dakayi, shared how being part of the programme has changed her life.
“I was very shy and terrible at filming, but I never saw myself represented in the industry,” she said through a South African Sign Language (SASL) interpreter. “Now, I feel seen. I feel powerful.”
Another intern, Linda Majola, highlighted the importance of telling stories in SASL, “It’s our language, our voice. It’s how we connect with each other and the world,” she said. “Through film, we can show people what it really means to be deaf in South Africa”.
The festival concluded with a graduation ceremony where the interns were awarded certificates of completion, symbolising not just the end of training but the beginning of promising creative careers.
FEATURED IMAGE: The 15 deaf interns in the arts and film production. Photo: Bontle Malowa
While mainstream media often chases the sensational and the spotlight, Ishan Tankha’s lens seeks out the silenced revealing the lives and stories that slip through the cracks.
The Wits Centre for Journalism hosted independent documentary photographer, Ishan Tankha, on March 4, in a seminar about photojournalism’s preoccupation with the spectacular. Tankha is known for his compelling portrayal of the marginalised and forgotten.
His work, which spans continents, from his homeland in India to the United States, reflects his dedication to telling the stories of those often overlooked by mainstream media.
Tankha’s photographic journey is deeply rooted in his commitment to uncovering the narratives of people caught in the “in-between” — those who are typically absent from the headlines, such as minorities, displaced communities, and individuals enduring the effects of conflict. His focus is on capturing raw, untold stories that challenge perceptions and humanize complex social and political issues.
During his presentation, Tankha spoke candidly about his approach to documentary photography, emphasising that his work cannot be summed up in a single sentence.
Rather than taking a surface-level view of global conflicts, his work delves into the lives of individuals caught in the throes of war, violence, famine, and unrest. What sets him apart is his patience and dedication to his subjects.
He shared that, at times, he spends years observing and building trust with the people he captures, allowing their stories to unfold in a way that goes beyond what is immediately visible. This long-term commitment is essential to truly understanding the nuances of their lives, creating images that resonate deeply with audiences and spark conversation.
Tankha’s exploration of conflict through photography is not just about documenting the chaos but about interrogating the broader implications of these events on human lives. He aims to reveal the extraordinary situations of ordinary people living in extreme conditions. His focus is not just on the grand, often violent narratives of war or famine but on the silent struggles of individuals who are left behind by history, their stories ignored or forgotten by the world.
Having exhibited his work both in the United States and India, Tankha’s photography transcends borders. His powerful images are a call to attention — a reminder that there is always more to a story than what is immediately apparent.
Through his lens, he challenges the dominant narratives of conflict, shedding light on the quiet, complex, and often painful realities faced by individuals who live in the shadows of history. His work is a vital contribution to the world of photojournalism, ensuring that the stories of the most vulnerable are not only told but understood.
FEATURED IMAGE: Motorcyclists in India as seen through the lens of Ishan Tankha. Photo by: Ishan Tankha
Wits University held the annual Fresher’s Party to welcome first-year and returning students to the university. The night was filled with fun and performances by prominent artists such as Focalistic, Scotts Maphuma, DBN Gogo, and many more.
Wits Vuvuzela hit the ground to capture the night, tune in for an experience of fun, laughter, and excitement, ahead of a jam-packed academic calender.
An exhibition of Esther Mahlangu’s work explores themes of cultural identity and timeless creativity.
The first thing that catches one’s attention walking into the Wits Arts Museum is not just any BMW, but a 525i which has been transformed into a canvas of Ndebele motifs. The geometric patterns adorning the car are a signature of Esther Mahlangu’s work, now on display at this exhibition.
Titled, “Then I Knew I Was Good at Painting: A Retrospective,” the exhibition takes the viewer through Mahlangu’s decades-long career and showcases how she has shaped contemporary art, her tradition and culture.
From well-painted canvases to everyday objects reimagined as art – alcohol bottles, construction helmets, and tea containers – Mahlangu’s signature pattern finds itself in unusual places, serving as an exploration of themes such as cultural identity.
Belvedere vodka bottles are designed with Ndebele patterns. Photo: Siyanda Mthethwa.
Beyond the striking visuals, the exhibition also contains quotes from Mahlangu, who explains different phases of her life. One that stands out is her recollection of how she got into painting – she was initially scolded by her mother and grandmother for drawing on the house.
“After that, I started drawing on the back of the house, and slowly, my drawings got better and better until they finally asked me to come back to the front of the house. Then I knew I was good at painting,” reads Mahlangu’s quote.
Nontobeko Ntombela, the curator of the exhibition, spoke at length about Mahlangu’s work and its influence on contemporary art. “She was able to show the world two key things for me…showing the expansion of visual arts, that arts don’t derive from the West,” said Ntombela.
The primary vision for the exhibition was to “pull people closer to the detail of the art and to the detail of the artist,” Ntombela wanted viewers to understand the contributions made by Mahlangu instead of seeing her in a general way.
Freshpak rooibos containers are designed with Ndebele patterns. Photo: Siyanda Mthethwa.
Among Mahlangu’s most iconic works is the coated BMW 525i, a project which first gained international recognition in 1990, when it was returned to South Africa from the BMW museum in Munich after 30 years.
Mahlangu’s BMW design is significant because despite growing up in a rural area, she was approached by a prestigious company to design the car in a still segregated South Africa.
Ntombela is also working on a book which is an extension of the exhibition. “The book becomes a story that gives us the anecdotes of how she forged her career to be relevant. The book becomes the story of how other people give testimonies about meeting her,” said Ntombela. She continued, “We have experiences in the archive of her going into these different parts of the world painting private homes as well as institutions.”
Ntombela hopes to release the book before the end of the year, while the exhibition will stay in the Wits Arts Museum until April 17, 2025.
FEATURED IMAGE: BMW 525 designed with Ndebele patterns, by Esther Mahlangu. Photo: Siyanda Mthethwa.
Social media can be a powerful catalyst for social movements has sparked revolution, amplifying voices for social justice and transformation.
Serving both as a reflection of societal values and a powerful tool for shaping public opinion and mobilising change, pop culture to me is the collective creativity and imagination that shapes my identity and influences my daily life.
From music and film to fashion and social media, pop culture also actively contributes to the evolution of social movements, often accelerating their impact and broadening their reach.
However, the advent of social media has really revolutionised the landscape of social movements in South Africa. Platforms like TikTok, Twitter, Facebook, and Instagram have provided new avenues for activism and engagement between citizens, influential figures, and government too.
Social media as an extension of pop culture has profoundly shaped how I speak, write and interact with people. It has introduced me to new words, phrases and expressions that I have adapted as part of my everyday vocabulary. From using common slang and interacting with memes, it has constantly been evolving and influencing my social life.
Every now and then, a new word or phrase explodes on TikTok. Suddenly, it’s all anyone can say. A relevant example is the current Tiktok trend started by Joolie Lebron of “very demure, very mindful”. This is because the trend has expanded my vocabulary, exposing me to the word as a synonym for modesty, something that would have likely remained unknown to me.
Another example of the power of social media in contemporary South African activism, was the #FeesMustFall movement, which began as a student-led protest against rising tuition fees is evidence of such power.
The singing at protests, livestreamed and tweeted updates and meetings, not only made the protests more visible but also underscored the cultural significance of the struggle. The movement, which gained momentum through online campaigns, brought thousands of students from behind the screens of their phones out onto the streets, leading to significant discussions and policy changes regarding higher education funding.
Similarly, social media has been instrumental in the #TotalShutDown movement, which seeks to addresses gender-based violence (GBV) and femicide. Digital platforms were used to organise protests, share survivors’ stories, and advocate for legislative changes. The ability to mobilise rapidly and engage a wide audience demonstrates the transformative potential of social media, the icon of pop culture, in driving social change.
While pop culture has proven its worth in society, it also faces challenges. The commercialisation of activism, where social issues are turned into marketable products or trends, can dilute the core messages of movements.
An example is how GBV and women equality is a serious social issue in the context of SA and so often, companies do not necessarily make active steps to address these issues but year in, year out they will go on these campaigns of 16 days of activism and about women’s month.
A recent example of this is the e-hailing service, bolt. In South Africa, bolt is infamous for drivers beating, kidnapping, raping and stabbing unsuspecting riders. Yet yearly, they always have a women’s day and a 16 days of activism campaign running. Promos are given to female clients during women’s month by bolt, yet the on-going violence between drivers and female passengers that have been reported are not addressed swiftly.
This commercialization can shift the focus from advocating for substantial policy changes and addressing systemic issues to merely capitalizing on a trendy cause.
Additionally, the rapid spread of information on social media can sometimes lead to misinformation or superficial engagement with complex issues.
Social media is a potent force in shaping social movements by amplifying marginalised voices, challenging societal norms, and promoting collective action. Its ability to engage large audiences and frame important issues in accessible ways makes it a crucial element of modern social movements.
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.
In episode six of We Should Be Writing season 7, the team unpacked the evolution of music as a form of expression and protest, through four decades in the South African context. The episode explores the journey of South African music and its consumers from the 80s, 90s, early 2000s and contemporary listeners. From the […]
