The local punk, rock, and metal scenes are bursting with talent, and international artists are beginning to take notice.
The suburb of Melville in Johannesburg is always buzzing and lively on weekends, drawing crowds from all corners of the city. On Friday, May 17, 2024, Melville was overtaken by punks and metalheads in crust pants and spikes, all coming to see the coolest show of the weekend, headlined by Matrak Attakk.
Matrak Attakk is a self-described ‘anarcha-feminist crust band’ (translation: really cool), hailing from Europe, but they fit right in at Smoking Kills, a beloved dive bar that sits at the heart of the local underground music scene. For as long as the bar has been open, it has been hosting up-and-coming bands of the hardcore sort, giving them a space to be creative and an enthusiastic audience to perform for.
Matrak Attakk were joined on the lineup by some of the best bands the scene has to offer currently. Lefokolodi was one of these acts, and for good reason; they are a spectacular quartet and seeing them perform is a fully physical experience. Lefokolodi brings a crowd of strangers together instantly, screaming and moshing with such vibrant energy that the room overflows with it. Their lead vocalist, Lerato, oozes showmanship and flair with his breakdancing and crowd surfing; seeing them perform their latest single, “Disillusioned,” was a highlight of the night.
The crowd watching Lefokolodi.
Lerato performing for the audience.
The crowd at Smoking Kills on May 17, 2024.
If you’re not a fan of politics, then punk isn’t the genre for you, but on the day, likeminded individuals got to share their thoughts in a space that actively champions community and solidarity. Bands like Mean Girls embody this; they have given the profits from merch sales to solidarity organisations, played shows celebrating youth day in South Africa, and written songs about anti-imperialism and feminism. Their popularity in the scene shows how much their message resonates with young people, but also stems from their musical finesse and talent.
Matrak Attakk took to the stage just past midnight and were easily the loudest band of the night. Their lead vocalist, Cristina, has a ferocious and intimidating scream, but her speaking voice between songs was soft and kind. She profusely thanked the audience for being so receptive, and said the South African scene has a lot to teach the European punk community. Being able to tackle subjects like racism, imperialism and colonization is all part of this specific music scene, and South African punks do it phenomenally, she said.
Matrak Attakk headed up to Pretoria on Saturday evening to perform and came back down to Soweto for a show on Sunday. On the weekend of May 24 and 25, 2024, they will be performing in Cape Town and Stellenbosch. This tour shows just how widespread the love for punk is here, and just how eager international acts are to explore every corner of our burgeoning little scene. Though the underground scene is far from being a profitable giant like other South African music genres, it is fierce, raw, and real.
FEATURED IMAGE: Lead vocalist of Matrak Attakk, Cristina, performs at Smoking Kills. Photo: Ruby Delahunt
The story of Isiphosethu in Ungubani sheds light on the divine powers of ancestors, and the importance of knowing your roots as an African.
The play follows Isiphosethu, a rightful royal queen summoned home by destiny. Raised in Johannesburg, she is haunted by recurring ancestral dreams urging her to return to where her inkaba (umbilical cord) lies buried.
Aphelele Sidelo, a member of the cast and writer of the play says, “This play aims to remind people of the importance of intsomi as it was used by our grandparents to tell stories with the essence of moral teaching.”
The play took place at the Emakhaya Theatre atWits Art Museum) on April 29, 2024, in front of a jam packed audience.
The cast incorporated emotional traditional isiXhosa poetry, music, and intsomi (tales) into experimental theatre. The play opened with a powerful Isixhosa chant as Isiphosethu embarked on her journey to the longed-for village.
Isiphosethu starring at her aunt Nofesti in shock . Photo: Salim Nkosi
Despite not being familiar with the language, it was remarkable how the cast ensured that their message was effectively conveyed to the spectators through expressive body language.
Director and composer, Mandipumle Nokonya told to Wits Vuvuzela that “the language barrier was a major hurdle since some cast members weren’t Xhosa speakers. They trained extensively to preserve the play’s theme.” Watching, one would have assumed they were all native isiXhosa speakers, a testament to their talent and dedication.
In the play, Isizwe Samanqosi, a rural village in the Eastern Cape, is governed by the malevolent Queen Nofesti. She killed her sibling Nomadubazana, the rightful queen, and ordered her brother Zwelakhe to murder Nomadubazana’s newborn, Isiphosetthu.
Nofesti did not know that Isiphosethu was not killed and was taken to Johannesburg by her uncle. She was ruling the village against the will of the family’s ancestors.
Her use of vulgar and profane language, revealed the type of a person she was, which envoked feelings of resentment amongst those on stage in the audience alike. I saw her as an evil dictator, she showed the characteristics of a nowadays selfish politician.
Upon arriving in the village, Isiphosethu encounters her uncle and pivotal figures who guide her journey. Eventually, she attends a royal meeting called by Nofesti, where her identity is unveiled, unraveling her entire life story.
This was a cringe moment, the scene was chaotic and very emotional, and it revealed how greed and power can turn people against their loved ones. Signifying the pursuit of self-interest at the expense of others.
The village faced grave danger as Nofesti, an arrogant witch, disregarded the pleas of her people, using her powers to suppress opposition. This illustrates the consequences of undeserving authority.
Isiphosethu’s arrival rescued the villagers, leading to Nofesti’s downfall at the hands of the oppressed community. The rightful queen assumed her throne, and the play concluded with Queen Siphosethu’s marriage and the village rejoicing in their newfound freedom.
Isiphosethu getting proposed to. Photo: Salim Nkosi
The performance left an indelible mark, while the singing and clapping in the house were memorable, it’s the importance of feeling like you belong, a constant guiding light in life’s twists and turns that will stay with me.
Vuvu rating: 8/10
Featured image: The villagers of Isizwe Samanqosi grieving their struggles. Photo: Salim Nkosi
Students live in Joburg, yet they hardly experience the city; here’s budget-friendly guide to places to help let loose and fall in love with the city of gold.
The University of the Witwatersrand is situated in the heart of Joburg’s CBD, with students from all over the world who enter its door. However, students, especially the ones that are novices to the area, do not know what is beyond the perimeter of their place of study — missing out on exciting spots to visit in the city.
Other students miss out as they get caught up in the hustle and bustle of city life and forget what is around them.
As today is National Tourism Day, which serves to commemorate all the aspects that contribute to a country’s travel and tourism allure; Wits Vuvuzela compiled a list of tourist attractions that students can try in celebration of the day.
The tourism sector took a beating during the Covid-19 pandemic, but it is currently picking up. According to Stats SA, the volume of tourist arrivals increased by 152,6% from 2,2 million in 2021 to 5,6 million in 2022. The statistics agency explained that the national gradual improvement was observed in the number of tourists arrivals from January to December 2022; however, it is still 44,3% below the pre-pandemic year of 2019.
Looking closer at the numbers, of the 5,5 million tourists in South Africa in 2022, 0,7% are students in the country, 4,7% are from other African countries, and 0,1% are international.
Beyond this, the sector is amongst the biggest contributors to GDP in the country.
Thus, one can see how tourism is a necessary sector in South Africa with predominant hotspots in Johannesburg, Cape Town, and Durban. Luckily for Wits students, they have the best tourist places within their fingertips.
An eagle’s eye view of Johannesburg showing bustling traffic and the hidden gems the city has to offer. Photo: Victoria Hill
Tourist hubs are made up of historical, cultural, environmental, and social aspects, which students can choose from. They also vary on a scale of affordability, which is vital to consider as students are always looking for fun outings that do not break the bank.
Under R100:
1. Wits Art Museum
2. Wits Origins Centre
3. Johannesburg Botanical Gardens
4. Walter Sisulu National Botanical Gardens
5. The Wilds Nature Reserve
6. Constitution Hill
7. South African National Museum of Military History
8. Johannesburg Zoo
9. Lindfield Victorian House Museum
10. James Hall Museum of Transport
11. Adventure Golf [one game = R36,67]
12. Sci-Bono Discovery Centre
Between R100-R200:
13. Apartheid Museum
14. Montecasino Bird Gardens
15. Multiflora Flower Market
16. Ice-skating
Between R200-R300:
17. 44 Stanley
18. Gold Reef City Theme Park
19. Maboneng Precinct
20. Melville
21. Parktown 4th Avenue
22. Illovo Muse
23. Rosebank Rooftop Market
24. Fourway’s Farmers Market
25. Neighbour Goods Market
26. Victoria Yards
27. Hashtag Escape
Independent ticket pricing:
28. Joburg Theatre
29. Wits Theatre Complex
30. Wits Chris Seabrooke Music Hall
No matter if you want to go from zero to one hundred, Johannesburg will always have something in store for you. These are just a few tourist attractions near or surrounding Wits University, but if you want an adventure beyond these borders, a road trip is always worth it.
Watch a Google Earth deep dive into each location:
FEATURED IMAGE: The skyline of Johannesburg as seen from the Wits Art Museum building’s 20th floor. Photo: Victoria Hill
Various students came together on campus to celebrate 30 years of democracy in South Africa through song with a chance to win R10,000.
On Wednesday, May 1, a diverse crowd of students filled the Amphitheatre at Wits University — under the open sky — as they were eager to witness performances of various struggle songs, performed at the Gwijo Competition hosted by the EFFSC.
Ernest Oppenheimer Halls group rendering an item. Photo: Lona Sokanyile
The purpose of the Gwijo Competition was to give young people an opportunity to express what 30 years of democracy means to them through songs; and to encourage youth political activism. The stakes were high, but it was the passion for expression that truly ignited the stage.
Amidst the cheers and applause, four groups stood poised to captivate the audience: Ernest Oppenheimer Halls (EOH), Knockando, Amani, and the Radius Club. Their voices rose in harmony, carrying melodies which echoed the struggles and triumphs of those who fought for freedom. From the anthems of the past to the cries of the present, each chant resonated with a profound sense of purpose.
As the contestants poured their hearts into each lyric, the audience became more than mere spectators —they became participants in a shared experience of unity and inclusivity. Harmonious voices mingled in a symphony of solidarity, transcending barriers of class and creed. It was not just the contestants who stole the show; it was the spontaneous moments of connection that truly stole the hearts of all people present.
The panelist of judges included Tebego Sako, a UFS alumni and currently a Wits law student, Koketso Poho a musician who is part of the Joburg jazz band iPhupho L’ka Biko, Wits SRC deputy secretary general Dineo Koetepe and Majola Majola a musician, song writer and UKZN economics student.
As an attendee, I was swept away by the energy and enthusiasm that permeated the amphitheatre. In the rhythmic pulse of the chants, I found a common thread bounding us all together—a reminder that in the face of adversity, our voices can empower.
The Radius club emerged victorious winning the competition. While only one group could claim victory, it was clear that the true triumph lay in the collective spirit of togetherness which filled the air that evening.
The winning res group Radius Club performing. Photo: Lona Sokanyile
The Gwijo Competition was not just a celebration of song; it was a celebration of the human spirit, a testament to the enduring legacy of unity and diversity.
FEATURED IMAGE: Wits Students at the Amphitheatre during the competition. Photo: Lona Sokanyile
South African Fashion Week highlighted the beauty of South African designs while placing a strong focus on making the fashion industry sustainable.
It was lights, camera, and action for models and designers this past weekend at the annual Spring/Summer 2024 South African Fashion Week (SAFW) at Mall of Africa. The event was overflowing with guests ready to celebrate the country’s current fashion landscape.
The three-day event from 18 to 20 April was a celebration of South African stories through new designs and offered the runway to many fledgling designers from across the country. The star-studded event did this by focusing on sustainable fashion.
The idea of ‘green fashion’ has become a hot-button issue; and SAFW has committed to a clean fashion ethos since 2019, in a bid to create a non-toxic fashion industry. Many of the designers who presented their collections over the weekend emphasised the importance of sustainability in their designs and brands.
The opening night presented the Mr Price New Talent Search, which showcased collections by new and upcoming designers, challenging them to produce their garments sustainably. Jessica-Ann Shepherd, the creator of ‘Oddity’ was this year’s winner, with her collection of vibrant, utility-inspired clothing.
Jessica-Ann Shepherd, the creator of ‘Oddity’ and her models, after winning the Mr Price New Talent Search. Photo: Victoria Hill Jessica-Ann Shepherd’s vibrant knitwear collection. Photo: Victoria Hill
Shepherd mentioned in her pre-show introduction that “responsible fashion is important because it is a solution to the industry’s environmental and social issues. We incorporate responsible fashion by upcycling, slow design, and reusing waste.”
Vanya Mangaliso, designer and creator of ‘Sun Goddess’ — a luxury heritage brand from Johannesburg told Wits Vuvuzela about their strategy to ensure a greener footprint. “Once we have cut the clothes, there [are] a lot of cuts of fabric that fill up landfills, which is wrong. We take those clothes and cut byproducts, like pillows and quilting to make sure every piece of fabric is used,” says Mangaliso.
Sun Goddess creator and designer, Vanya Mangaliso, backstage before her SAFW showcase. Photo: Victoria Hill‘Sun Goddess’ collection on the SS24 SAFW runway. Photo: Victoria Hill
This is a view shared by many of the featured designers in ensuring their work is green, and not adding to the growing environmental issues worldwide.
The final day featured a collection by Mpumelelo Dhlamini from ‘Ezokhetho, a fashion brand with a focus on African women and their stories. Dhlamini explained that green fashion is unique to each designer. “For us it is finding ways of using leftover fabric because we are a print-heavy brand, so we always have prints that we can reuse and reintroduce,” explains Dhlamini.
‘Ezokhetho’ creator and designer, Mpumelelo Dhlamini, backstage before the showcase. Photo: Victoria HillA design from the “Umthwalo’ collection by ‘Ezokhetho’. Photo: Victoria Hill
Dhlamini stated that Ezokhetho’s print-heavy style helps to tell their stories, and this season’s collection titled, Umthwalo meaning ‘carry me’ looks at the relationship between an adult and their parents. “It’s basically tapping into your inner child as an adult.” This collection featured bright, and vibrant prints to highlight the depths of that narrative.
Much like Ezokhetho’s collection, the diverse designs featured throughout the weekend told different stories, many of which were inspired by South Africa and the designer’s experiences.
Leon von Solms, a designer from Cape Town says his collection was inspired by flowers to express the world’s need for positivity. “My inspiration is flowers…I specifically painted local flowers, because I just feel we need flowers; we need love and happiness.”
Designer Leon Von Solms hand painting flowers onto a model before his SAFW showcase. Photo: Victoria HillLeon von Solms’ flower-inspired collection on the runway. Photo: Victoria Hill
This eccentric 1970s themed collection made use of metallics and bright colours, and hand painted flora to put forward a message of “happiness and peace.” Von Solms’ collection also featured accessories his colleague created from recycled materials to match each of the flowers painted on the dresses.
The event was a lively showcase with beautiful prints, colours and silhouettes that highlighted the intricacies of local design. South African Fashion Week will return in October 2024 for the Autumn/ Winter collections.
FEATURED IMAGE:
Models showcasing Italian designer, Viviers, 2024 Spring/ Summer SAFW Collection. Photo: Victoria Hill
Music-lovers united to watch a jazz trio groove up the stage at Wits Chris Seabrooke Music Hall.
The stage was adorned with a gorgeous baby grand piano, a bronze trumpet, and a larger-than-life cello, all waiting to play a tune. The music hall was designed with acoustic architecture and welcoming colours added to the ambience. The stage was awaiting South African trumpet legend, Sydney Mavundla, who was accompanied by Africa Mkhize on keys and Dalisu Ndlazi on strings, to debut his single, Dirge for our fathers.
The stage is set with a grand piano, a shiny trumpet, and an impressive cello. Photo: Victoria Hill
Mavundla “hated the beginning” of his music career, and it took him “quite some time to get into it”. He told Wits Vuvuzela how he “used to come home, drop [his] school bag, and run [away] before [his] dad comes, because if he gets here, it’s ‘let’s go to the trumpet’”. His father was a colonel with the Salvation Army and encouraged Mavundla to join their band.
It was around the age of 14 years, when he began to love the brass instrument. Interestingly, he had auditioned for Wits and got rejected, but soon found a home at the University of Natal, studying under prestigious musicians and creating unique pieces he went on to perform all over the world.
From left to right, Africa Mkhize, Sydney Mavundla, and Dalisu Ndlazi, take a final bow to close their jazz performance. Photo: Victoria HillThe trio in their element, performing a composition called Dirge For Our Fathers. Photo: Victoria Hill
Silence fell over the audience as they waited in anticipation for the first note to sound. The three men looked in their element, waiting for each other’s cues and then, suddenly, a symphony hit everyone’s ears. The audience become one, each in their own bubble interpreting the music as they pleased — an old-school pipe-smoker, a young head-bopper, and a curious foot-tapper.
The first song of the evening paid homage to the time of covid-19 lockdown, when all social circles were broken. The tune was melancholic, with a slow blending of piano, trumpet, and cello sounds. Each musician had a solo which drove home the idea of isolation, yet finding the beauty within it. Now that society has returned to normal, Mavundla says the places available for jazz musicians to share their music is limited, so even though one has music, there is no one for whom to play it.
The next composition was an ode to his daughter, the song recreated her happy and lively nature. The music consisted of high-and-low points and soft-and-loud blends. The three gentlemen were living in the moment, dancing to their own music and smiling at each other whilst performing. The feeling was contagious throughout the audience, with many “whoops” and “yes’s” echoing around the hall.
Contrasting this energy was a composition referring back to Mavundlas’s roots. It was whole-heartedly melancholic, with a contagious silence falling amongst the audience. A general emotion of lost-yet-found was tangible. But, as they transitioned into their next melody, everything gained momentum again, resulting in a sound that has “everything to do with happiness”. The three musicians were sweating at this point — they were playing their instruments with their full bodies and encouraged the audience to feel the beat through their whole bodies too.
Dalisu Ndlazi can be seen emerged in his cello solo, physically exerting his mind, body, and soul. Photo: Victoria Hill
The climax of the evening was when the trio played Dirge for Our Fathers, “paying tribute to all the people who have paved the way for us”. It doubles as a reference to African culture and the importance of the ancestors in life. Mavundla sings “may your soul rest in peace, know that you are so loved, tell all the others the same”. This drove people in the audience to sing and dance their hearts out.
FEATURED IMAGE: Sydney Mavundla on stage performing songs of his own composition. Photo: Victoria Hill
Celebrating the new graduates and enhancing the postgraduate social life on campus through what organisers hope will become an annual fixture.
The postgraduate association (PGA) at Wits university have an upcoming festival on Saturday, April 13, 2024, at Sturrock Park West Campus from 14:00 till 02:00 called ‘No degree, no entry’ as a way of celebrating with newly graduates.
The Chairperson of the PGA, Okuhle Mafrika, said while Wits University’s vision for 2022/23 is postgraduate friendly and research intensive, postgraduate students do not feel that sense of inclusivity.
Mafrika claimed that Wits focuses on undergraduate students, for instance hosting a Freshers party to welcome them but nothing for postgraduate students.
The PGA has taken it upon themselves to instil a sense of belonging and celebrate postgraduate students.
‘No degree, no entry’ is a festival aimed at attracting more postgraduates to the PGA community and motivate undergraduate students.
“The No degree, no entry festival will hopefully be an annual event depending on its success,” he said.
There have been challenges such as securing sponsors and getting approval from the university since this is a new concept.
Mafrika said “there are about 12 000 postgraduates and 24 000 undergraduates” so as the PGA they had to “sell the idea to students and to funders” first. They have chosen to do this with a star studded line-up students will find difficult to resist.
The money generated is for fundraising purposes to assist postgraduate students with accommodation fees, as they hardly qualify for the hardship fund, said Mafrika. The hardship fund is mainly allocated for indebted undergraduate students.
Tickets are on sale for R150 for Wits graduates and R200 for graduates from other universities and Wits undergraduates. Performances by Master KG, Mòrda, Elaine, Langa Mavuso, Kelvin Momo, Shakes and Les, Leemkrazy and many more are to be expected.
The dean of students, Jerome September, said, “There have been initiatives that sought to cater for postgraduate students such as the postgraduate orientation programme and the book club run by the division of student affairs.” Wits is constantly reviewing these and looking at new and further ways to support and create a positive postgraduate student experience.
FEATURED IMAGE: The first of many No, degree, no entry festival. Photo: Wits PGA
The spirit of Hip-Hop was on full display at the Red Bull event, through competitive breakdancing and headlining performances from A-Reece and Priddy Ugly.
The Red Bull BC One competition, which took place on March 23, 2024 at TMF Studios in Braamfontein saw scores of people gather to give the art of breakdancing its flowers.
The competition is a Red Bull initiative, intended to shine a light on South Africa’s breakdancing culture and provide a platform for professional breakdancers (known as B-Boys/Girls) to demonstrate their creativity and talent through competition.
A B-Boy performs before judges. Photo: Kabir Jugram
This was certainly the case for Joony Roc from Johannesburg South, a passionate B-Boy, who has been working on his craft for over 10 years. Speaking to Wits Vuvuzela after performing to the sound of deafening speakers and roaring applause from a jam-packed audience, he said: “Seeing the turnout tonight and some of the faces that are here… I’m happy. It feels like the culture is being sparked again and people are starting to pay attention to breaking because breaking is one of the original elements of Hip-Hop.”
While the event gave exposure to an unsung art form, it also paid homage to an iconic one: Hip-Hop. With the likes of A-Reece and Priddy Ugly headlining the event, hundreds of young artists and hip-hop lovers were seen filling up the stands.
As A-Reece quietly emerged from the crowd to perform, cheers only grew louder the closer he got to the stage. This excitement would soon build into a hysteria of moshing bodies, strained voices and enchanted minds as the crowd was reciting A-Reece’s verses bar for bar throughout his performance.
A-Reece performing to a packed crowd. Footage: Kabir Jugram
The spirit of hip-hop had people enchanted. An up-and-coming artist named ‘OG Wanton’ summed this up neatly, “Without Hip-Hop I’d be lost. It gave me a safe space to create, write and express how I feel… Without that in life, I wouldn’t be who I am right now”. His collaborator ‘Pxzess’ added: “It (Hip-Hop) puts us (the youth) in a position of being something bigger than us as individuals. Hip Hop is a movement, not a genre.”
Rapper and headliner artist, Priddy Ugly told Wits Vuvuzela that hip-hop played a pivotal role in his life and development: “Hip-hop culture raised me. I wouldn’t be here without it. Hip-hop taught me to believe in myself, taught me confidence… it taught me my language!”
Priddy Ugly headlined the Red Bull One Event on Saturday. Photo: Kabir Jugram
In an age where Amapiano has become a global phenomenon and artists like Tyla and Black Coffee have achieved global acclaim, hip-hop has fallen by the wayside in terms of its mainstream appeal. However, it is events such as this that remind us that while the culture has been neglected in recent times, it has certainly not lost its relevance or importance.
The event united people around their common love for a genre that grew them, moulded their identities and taught them self-expression. Not only was this event an exhibition of a growing breakdance culture, but it also served as a timely reminder of the importance of hip-hop to the lives of many South African youths.
FEATURED IMAGE: A-Reece engages the crowd at the Red Bull One event. Photo: Kabir Jugram.
“You can take away Kitchener’s and you’re literally taking away Braam,” said DJ, Billy Meliodas of the bar’s closure.
Shockwaves have been sent throughout the street life culture this week, as Kitchener’s Carvery Bar announced their closure due to ‘economic circumstances’.
Kitchener’s Carvery Bar in Braamfontein. Photo: Siyanda Mthethwa.
The pub has been situated in the heart of Braamfontein since the early 1900s and more recently has been an iconic cornerstone of the creative hub of the city. The blue exterior with white pillars draws people in visually, but the music and electric energy are what lure people in and make them loyal patrons. Wits Vuvuzela student journalist, Ruby Delahunt, describes the venue as a “welcoming environment” that “allowed a lot of new DJs to test the waters and start out”.
Kitchener’s truly stands out because of its authenticity and its pursuit of keeping its unique identity. Eddie, a bartender at Kitchener’s said, “Nights where there’s just two customers here, we never said ‘Oh no, maybe we should change our music, maybe we should change business. We never compromised as so many trends came and went’”. He further went on to explain that “it’s always been a huge part of street culture in Braamfontein” and that it’s “given a platform to so many people” including creatives and musicians who were able to express themselves without shame.
Local DJ, Billy Meliodas, went into depth about the impact that Kitchener’s had on his life and Braamfontein as a whole. “The owner of Kitchener’s [Andrew Clement] took me from the street, and he looked after me. Everyone in Kitchener’s is happy…it’s not a place where you can come and find conflict”. He continued, “They’re closing the true heart of Braam…this place is a home to everybody.”
Kitchener’s is one of the last remaining authentic pubs which prioritizes community as Billy and the staffers explained, people could go to the bar on their own with a guarantee that they would walk out having made a friend or two. A final hoorah will be held this long weekend.
Thank you, Kitchener’s for being a home to many. Thank you, Kitchener’s for being a safe space and encouraging people to chase their dreams and just have fun. After March 31, 2024, it will no longer be open, but it will forever be in our minds and hearts. We hope that the energy and symbol that it represented stays with us and the future of Braamfontein.
A 20-year-old Wits medical student compiled a poetry album to share the lived experience of a black South African woman that is tired of shrinking herself to be palatable.
The Rainbow Nation is Black by Nonhlanhla Siwela is a poetry anthology which has also been released as a 19-track deluxe album which interrogates identity, race and gender.
The deluxe version was released on September 1, 2023 after the initial release of the 12-track album on September 25, 2021. The deluxe album is an extended version of the first and includes more poems while exploring three themes from the original book.
The first theme – white – includes the poems Our Boys and Cry, Black men, Cry which encourages black men to express themselves in a way that is not guided by patriarchy and social expectations. Siwela articulates this well in Our Boys, “When will somebody tell the elders that our boys are underage, that our boys are exactly that, just boys,” she writes.
A black woman’s trauma in a gender-based violence (GBV)-ridden South Africa was a topic explored in the second theme – grey. Using poems like: Bring Back Our Girls/Uyinene Is Not Dead; Only Love and My Biggest Fear as a guide, Siwela shared how a black woman’s life in South Africa belongs to anybody but herself. She went as far as saying that her biggest fear “is to die because somebody’s son thinks he is God”.
Through a poem titled I Wish, Siwela confronts her blackness as a South African woman. This is the last theme – black. Without wishing to be a part of any other race, she speaks of a blackness as a burden to her existence. As someone that went to St. Johns school for girls, she did not enjoy having to introduce herself by a nickname so it can be easily pronounced, yet children from other races never had to shorten or simplify their names for anyone.
A Young Poets Mind – as she refers to herself, started writing when she was 15 in 2017 at St. Johns Diocesan School for Girls in Pietermaritzburg. As a scholarship learner from grade eight till grade ten, she recalls how her mother would constantly remind her how grateful she had to be for that opportunity and “not be too Zulu [at St. Johns]”.
To her, this was a moment of realisation. “All this time I have had to make myself more palatable to the white system, even at my school. It felt like [the school] was doing me a favour,” she told Wits Vuvuzela. This is when the writing of I Wish began.
When Uyinene Mrwetyana was murdered, she started organising silent protests at her school and wrote a lot of poetry around it, including Uyinene Is Not Dead. “[The poem] was [recited] in assemblies at different schools in KZN, that is how much I saw my poetry impacting people,” Siwela said.
Friend and third year medical student, Paballo Mofokeng (21) described Siwela’s poetry as her introduction to a whole new world of the arts and culture. “I always associated the arts with classical music and all of that stuff, I didn’t think it could apply to modern kids and modern people, until Nonhlanhla,” said Mofokeng. “Also, the poetry that we did in school was not directed to black kids, [it] was not directed to black girls,” she said.
The deluxe album is available on all digital streaming platforms and serves as a multimedia companion to the text.
FEATURED IMAGE: Nonhlanhla Siwela enjoying a page from her poetry anthology, The Rainbow Nation is Black. Photo: Otsile Swaratlhe
The entertainment industry greats paid tribute to one of South Africans great actors, John Kani at his birthday celebration.
Award winning actor, director, playwright, and Wits honorary doctorate receiver John Kani celebrated his 80th birthday in a packed theatre. The celebration took place in his namesake, the John Kani theatre, in the Market Theatre laboratory on August 30.
The event was opened with a performance by the South African jazz musician Sipho ‘Hotstix’ Mabuse, followed by an address by Atandwa Kani, his son and an actor in his own right. “We all here to celebrate this big man’s birthday on behalf of the family, I just want to say tata, happy birthday Mlotshane,” he said.
Atandwa Kani performing The Island. Photo: Aphelele Mbokotho
The Van Toeka Af living legends recognition series is an initiative by the Department of Sports, Arts and Culture’s which recognises living legends and the work they have done. Dr Kani’s 60 year career in the dramatic arts played out on stage.
The celebration included different snippets of theatre work that Kani had worked on and won accolades for, among these performances was the infamous Sizwe Banzi is Dead, performed by Atandwa and Nathienal Ramabulana on the night. The play co-written by Athol Fugard, Winston Ntshona and Kani, explored the themes of identity, self-worth, racism, and suppression.
This is the play that won the Tony Award for the best play in 1975. It premiered in October of 1972 and ran 52 times in New York, winning the award three years later.
Kodwa spoke fondly about Kani and the work he has done for art and how he has used art to inspire change through his work during the apartheid and post-apartheid era. “He is the living testament to the power of art, to inspire change, to transcend boundaries and to foster unity,” he said.
Another outstanding theatre performance of Shakespeare’s Othello was performed by Atandwa, Kate Liquorish and Michael Richard. In 1987, Kani’s role as Othello, in particular the infamous kiss shared with Desdemona (a white woman) in the play, faced backlash. The kiss came just two years after laws prohibiting interracial marriages and sex were repealed by the Apartheid government. But segregation was still so ingrained, that many audience members walked out during performances reported the Chicago Tribune at the time.
Atandwa Kani and Kate Liquorish performing Othello. Photo: Aphelele Mbokotho
Kani wrapped up the evening with a performance of a play he wrote called “Nothing but the Truth” which looked at the relationship complexities between the black people that stayed in South Africa and the ones that went into exile.
After his performance he made a speech on the importance of sustainability in the arts. “We have to industrialise the arts, it cannot be a side job because we don’t want to do a BSc [Bachelor of Sciences], it has to be a business, an industry that I can tell my children yes because you’re going to survive, make money and be rich.”
FEATURED IMAGE: John Kani sits down to have an interview with Wits Vuvuzela. Photo: Nonhlanhla Mathebula
The Wits Origin Center is hosting Bev Butkow’s Re-weaving Mother exhibit, which showcases a collection of artworks that explores the question of how humans exist in this world and what they leave behind.
South African artist, Bev Butkow, who has showcased her work worldwide has brought her new project on display in her second solo exhibit at the Wits Origin Centre on August 20, 2023.
The exhibition titled, Re-Weaving Mother shows a body of abstract, woven, stitched, painted, and mixed media sculptures, artworks on canvases and fabric that draped over concrete pillars. The exhibit managed to take a dark and gloomy centre and turned it into a beautiful spectacle of colour and life.
As art lovers walked through the entrance, they were ushered in by draping elaborate fabrics – it was like entering a material jungle and artworks were waiting to be discovered. There were different lights filling each space in the room and each piece was made of different textures and colours.
An artwork linked to Surface Play by Bev Butkow, showcased in the ‘Re-Weaving Mother‘ exhibit opening on August 20, 2023. Photo: Georgia Cartwright
Butkow holds a Master of Fine Arts degree from Wits University and made a bold move from a successful corporate career in finance to become an artist. She said her current work is inspired by learning a new and different way to exist in the world.
She described her art as “nurturing” and “caring,” harboring different elements of the human body and art mixed into one. She added that her work represented, “the value of women’s labour [and] the traces we leave and the impact we make”.
Butkow told Wits Vuvuzela that she believes, “creativity is the new intellectual frontier,” and added that art creates “new possibilities around how we engage in the world and how we exist together in community.”
Many people came to view the new exhibit, this included art lover Meaghan Pogue who said the artworks made her feel a sense of “comfort” because the material used on the hanging sculptures were made from a soft and “recognizable” fabric. You can almost feel a sense of home with some of the pieces as if they are woven from memory.
Each person may experience the exhibition differently but from interaction with the artwork in form of sight and touch, Butkow seemingly showcased new ways of being and engaging with the world through her art.
The Re-Weaving Mother exhibit will be showcased at the Origin Center until September 30, 2023. There will be creative gatherings on the:
Body and Art: August 30
A Material Uprising: September 06
The value of Women’s Labour: September 12
Traces We Leave Upon the Earth: September 14
Writer and Arts Journalist David Mann admiring Echoes of Process by Bev Butkow at the ‘Re-Weaving Mother‘ exhibit. Photo: Georgia Cartwright
FEATURED IMAGE:Ley Linesand other Networks of Care by Bev Butkow in her exhibit “Re-Weaving Mother” on August 20, 2023. Photo: Georgia Cartwright
Since her announcement as the Democratic Alliance’s mayoral candidate for Johannesburg, Helen Zille has dominated national headlines. In this bonus episode of We Should Be Writing podcast, hosts Lulah Mapiye and Bonolo Mokonoto dissect a media meet-and-greet with the mayoral hopeful. From her extensive political résumé to her controversial public utterance, we examine why the Democratic Alliance has chosen Hellen Zille as their candidate for the 2027 local mayoral elections. Additionally, […]
