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
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.
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 […]
