Thriving under the Spotlight: Candice Modiselle
Multi-hyphenate Candice Modiselle sets her sights beyond acting as the spotlight on her burns ever brighter.
Wits graduate joins SABC3 show
Mosa Kaiser started her acting career at the tender age of six in the popular kids show, Takalani Sesame.
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Q&A with Nyaniso Dzedze
Nyaniso Dzedze, Wits alumni, is a performer, singer and dancer who is no stranger to the South African art and entertainment industry.
Coolkid on campus
Mpumi Mlambo is a Wits BA Industrial psychology graduate who has a keen interest in entertaining the masses. She also studied entrepreneurship and development at the Raymond Ackerman Academy. This move was inspired by her business orientated family. With so much confidence, this multi-talented actress has managed to grab the attention of casting directors from an early age. She is part of the vibrant Alcatel One Touch SA team, where she has been a brand ambassador for the last couple of months. This year she won an MTN radio Award for the Best Breakfast show presenter for The Morning Shake Up on Vowfm. She has also been part of a television series on SABC. Recently she starred in a Dove advertisement for DSTV which has made her even more visible in the entertainment industry.
Photo: Provided
When did you realise that you were interested in acting or presenting?
I didn’t have specific interests but I loved entertaining people, so when other kids left school to go home. I stayed behind because we had to practice for a school concert. I was involved in every school concert in primary school. I was always participating in most of the Drama productions as well as mc’ing school events if not dancing at the school concert. Oh and how could I forget pageants? Every girl wanted to be a queen at some point, right and I became one too (laughs).
Who or what has been your inspiration? Why?
My mother and sister. My mother was able to put all of us through University with the little that she had. My sister is a warrior; she showed me that where you come from has little to do with your success. She taught me that with drive and hard work you can be whatever you want to be.
She also taught me that it is important to fail because we learn through failure and become better at whatever it is we do.
When was your first big break?
When I was on Sokhulu & Partners at the age of 16. It was not a big break but it was great to work with people I had never thought I would even meet in my life. I am from a small Township where even making it to matric is a privilege, being on TV seemed highly impossible but it happened.
How does it feel to be a recipient of an MTN Radio Award? How has it changed your presence as a presenter
It feels absolutely amazing to know that as a woman I was able to prove to a lot of people who think that women can’t host a prime time slot like a breakfast show and do great at it.I feel highly blessed to be a part of a great platform like Vowfm, it would have never happened without my bosses constantly critiquing me!I speak with way more purpose than I did before. I keep growing each and every day. I realised that a lot of people listen and I have the power to share empowering information with them instead of meaningless content.
Acting or presenting?
I can’t choose, if I had to choose it would really suck. The reason why I can’t choose is because the two are intertwined. As a radio host, I often have to be in character and prank people on air.I love the two just as much as I love My Mom and Jesus.
How do you juggle everything that you are doing at the moment?
The weirdest thing is I really have no idea. I just make sure that I do what I have to do. Get work done.
What are the struggles that you face in the entertainment industry on a daily?
It is very hard to be taken seriously as a female in the industry. When you are taken seriously, a number of men want to mix business with pleasure.
What can we expect from you in the future?
What do celebrities say again when asked this question, watch the space? I’m joking, I am looking forward to being a part of the biggest events this spring and summer with my Alcatel One Touch SA team as well as winning or rather slaying like the Cool Kids would say every single day.
Coolkid on campus
Photo: Provided
Mpumi Mlambo is a Wits BA Industrial psychology graduate who has a keen interest in entertaining the masses. She also studied entrepreneurship and development at the Raymond Ackerman Academy. This move was inspired by her business orientated family. With so much confidence, this multi-talented actress has managed to grab the attention of casting directors from an early age. She is part of the vibrant Alcatel One Touch SA team, where she has been a brand ambassador for the last couple of months. This year she won an MTN radio Award for the Best Breakfast show presenter for The Morning Shake Up on Vowfm. She has also been part of a television series on SABC. Recently she starred in a Dove advertisement for DSTV which has made her even more visible in the entertainment industry.
When did you realise that you were interested in acting or presenting?
I didn’t have specific interests but I loved entertaining people, so when other kids left school to go home. I stayed behind because we had to practice for a school concert. I was involved in every school concert in primary school. I was always participating in most of the Drama productions as well as mc’ing school events if not dancing at the school concert. Oh and how could I forget pageants? Every girl wanted to be a queen at some point, right and I became one too (laughs).
Who or what has been your inspiration? Why?
My mother and sister. My mother was able to put all of us through University with the little that she had. My sister is a warrior; she showed me that where you come from has little to do with your success. She taught me that with drive and hard work you can be whatever you want to be. She also taught me that it is important to fail because we learn through failure and become better at whatever it is we do.
When was your first big break?
When I was on Sokhulu & Partners at the age of 16. It was not a big break but it was great to work with people I had never thought I would even meet in my life. I am from a small Township where even making it to matric is a privilege, being on TV seemed highly impossible but it happened.
How does it feel to be a recipient of an MTN Radio Award? How has it changed your presence as a presenter?
It feels absolutely amazing to know that as a woman I was able to prove to a lot of people who think that women can’t host a prime time slot like a breakfast show and do great at it. I feel highly blessed to be a part of a great platform like Vowfm, it would have never happened without my bosses constantly critiquing me! I speak with way more purpose than I did before. I keep growing each and every day. I realised that a lot of people listen and I have the power to share empowering information with them instead of meaningless content.
Acting or presenting?
I can’t choose, if I had to choose it would really suck. The reason why I can’t choose is because the two are intertwined. As a radio host, I often have to be in character and prank people on air. I love the two just as much as I love My Mom and Jesus.
How do you juggle everything that you are doing at the moment?
The weirdest thing is I really have no idea. I just make sure that I do what I have to do. Get work done.
What are the struggles that you face in the entertainment industry on a daily?
It is very hard to be taken seriously as a female in the industry. When you are taken seriously, a number of men want to mix business with pleasure.
What can we expect from you in the future?
What do celebrities say again when asked this question, watch the space? I’m joking, I am looking forward to being a part of the biggest events this spring and summer with my Alcatel One Touch SA team as well as winning or rather slaying like the Cool Kids would say every single day.
Repertoires get reality show
Just when we thought The Repertoires had reached their peak as one of South Africa’s finest hip-hop dance crews, came the announcement of their new reality show which debuted on satellite channel Vuzu last week Friday.
The reality show, Running with the Reps, showcases “young, upcoming, talented people and how they handle the drama of trying to make it out there … being in the entertainment industry and the dramas of life itself,” says Nthato “Taydos” Malete, co-founder of the group and Voice of Wits radio presenter.
Cranking it up: Catch “Running with the Reps” at 19h30 on Friday's on Vuzu Photo: Courtesy of Vuzu
The Repertoires are between the ages of 18 and 25. Members who are keenly followed include Malete, co-founder Larry Mncube-Nhlane, Tejee “DJ Ellipsis” Mbuyamba, manager Michael Makwala, Senhle “T-Chama ”Mazibuko and dance duo “Tha Thundacats” – made up of Thato Mathlabegoane and Kea Mahlobo.
“Everyone has ambitions and dreams, but if you’re watching people trying to do something about it, it’s a whole different story. It’s inspiring,” says Malete.
Makhosini Sihlali, fellow Witsie and co-manager of the Johannesburg crew, adds that getting the idea for the reality show to materialise was not “as easy as it seems”. He explains that because they are young, people tend to not take them seriously, assuming that they’re just another dance crew chasing fame.
The show was a trending topic on Twitter, March 4. Fans seemed fairly impressed with the first episode. On Monday, many Witsies said that Tha Thundacats were the most entertaining of the bunch.
Sihlali says that viewers of the show can expect to witness intimate moments shared by the crew and their families. In the first episode, we were introduced to Mncube-Nhlane’s girlfriend and Malete’s 19-month-old son.
Apart from watching the “Reps” pursue their dance ambitions, viewers will get to see them chasing their individual dreams to become actors, recording DJs and successful radio presenters.
In the past four years, the dance crew has secured a huge following and performed alongside artists such as Jozi, Pro and Shuggasmaxx.
For more information on the show log on to: vuzu.dstv.com/reps
For bookings: e-mail Makhosini Sihlali: msihlali@gmail.com
Songs of change: The impact of democracy on music copyright law
Exploring the evolution of South Africa’s music copyright laws reveals significant shifts in creative rights for artists, particularly during the transition from apartheid to democracy.
The development of music copyright throughout South Africa’s democratic transition in the 1990s demonstrated how musicians battled for recognition and rights in the face of institutionalised persecution.
The Separate Amenities Act of 1953 posed a significant obstacle for renowned saxophonist Winston “Mankunku” Ngozi during South Africa’s apartheid era. Because of legislation that forbade mixed-race concerts, Ngozi had to perform with white musicians behind a curtain, thus keeping the audience from seeing him. In a degrading incident, he was forced to perform behind the curtain at a 1964 Cape Town City Hall show with an all-white big band, while a white impostor claimed to be the saxophonist on stage.
In addition to restricting Ngozi’s ability to express himself artistically, this discriminatory regulation kept him from receiving the proper credit and payment for his contributions. Despite the commercial success of his famous 1968 record Yakhal’ Inkomo, which documented the challenges of Black artists under apartheid, Ngozi did not receive much financial gain because copyright protection was not in place. Ngozi’s experience illustrates the systemic abuses that Black artists experienced: their rights disregarded and their artistic work exploited.
According to an article in The Funambulist, apartheid-era musicians faced severe restrictions. The Separate Amenities Act, coupled with the Group Areas Act and pass laws of the early 1950s, imposed stringent mobility constraints. To move freely, musicians needed a ‘day pass’ or ‘night pass’ and had to adhere to a mandatory 10pm curfew, referenced in the African Jazz Pioneers’ song Ten Ten Special. These interconnected laws stifled artistic collaboration, social cohesion and overall freedom.
Before the country gained its independence, Black artists in South Africa worked in a closed-off environment with almost no copyright protection, leaving them open to exploitation and receiving only small compensation for their artistic efforts. This harsh environment not only suppressed artistic expression, but also failed to give musicians the recognition they deserved for their contributions.
Contemporary resonance
The legacy of apartheid-era struggle music continues to resonate with contemporary artists. One of these is Johannesburg-based musician Ofentse Sebula, who attests to this enduring impact. “The legacy of the struggle music from the apartheid era plays a significant role in my music, as I too share the same sentiments,” he says. “The sentiments I share with apartheid-era musicians include resilience, cultural pride and a commitment to authentic emotional expression. Growing up in democratic South Africa, my music reflects on our nation’s complex past, its ongoing impact and the hopes for a unified future.”
Sebula emphasises that music from that era transcended mere entertainment: “It was a voice of the people, reflecting the times they lived in,” he says. Sebula’s own music may not be overtly political, but he acknowledges the importance of storytelling through song. “My music isn’t always in line with political issues as before [in] the apartheid era, but the goal is to tell my stories and remind people that we’re still going through the same battles.”
Music promoting social justice and resistance was particularly targeted by the apartheid administration’s severe censorship laws. Politically charged songs that dealt with issues of injustice and inequality caused artists like Hugh Masekela, Miriam Makeba and Brenda Fassie to be targeted, censored and sometimes overtly mistreated by the apartheid government. For instance, Makeba’s song Pata Pata was banned from radio stations due to its alleged anti-apartheid sentiments, which restricted her ability to perform for a larger audience in South Africa.
Similarly, Fassie’s song I’m a Good Woman tackled themes of empowerment and defiance in the face of oppression, marking her as a voice for marginalised people. Although the song was not overtly political in comparison to some protest songs, Fassie’s bold expressions of resilience were interpreted as a challenge to the status quo. Radio stations banned her song Black President, which was a tribute to Nelson Mandela, for its anti-apartheid connotations. The government kept a close eye on Fassie’s activities, making it difficult for her to express herself freely.Masekela also suffered greatly because of his musical advocacy. His popular anti-apartheid protest song, Bring Him Back Home (Nelson Mandela), demanded the release of Mandela, who had been detained by the government since 1962. The song, composed and recorded during Masekela’s exile, rose to fame and became an unofficial anthem of the anti-apartheid struggle. The upbeat tune, with its strong chords and trumpet riffs, masked a pointed political statement that directly challenged the South African apartheid government. The fact that musicians jeopardised their freedom and careers to speak out against injustice underscores the complex relationship between politics and music.
Lack of legal protection
Musicians frequently found themselves in a vulnerable position during the apartheid era due to the lack of strong legal protections for their artistic creations. At the time, the Copyright Act of 1978 offered creators limited rights and failed to address the specific challenges faced by South African artists, particularly Black musicians. Although the act was meant to protect intellectual property, it operated within a framework that largely ignored the systemic inequities of the apartheid system.
A glaring example was the ‘Lion Trial’, involving the globally famous song The Lion Sleeps Tonight, originally written by Solomon Linda. Despite the song’s enormous financial success, Linda received little recognition or compensation, exposing the exploitative practices that thrived under the apartheid-era copyright regime. The law’s focus on formal, written agreements and legal representation left many black musicians – who often had limited access to legal resources – vulnerable to exploitation by record companies and intermediaries.
In addition, the harsh restrictions placed on artistic expression by the apartheid administration meant musicians were forced to communicate their discontent using subtle themes, risking further marginalisation. In the end, Black artists were not protected by the 1978 Copyright Act, which was meant to update South Africa’s copyright regulations. Significantly, the Act denied many Black artists the right to their previously created works, because it did not offer retroactive protection for works created before 1978.
Unfair ownership arrangements favoured record companies and publishers owned by white people, leaving Black musicians open to exploitation due to a lack of effective enforcement measures and restricted access to the legal system. Neither did the Act address cultural appropriation, through which white artists make money from traditional Black music without acknowledgment or payment.
These flaws led to the exploitation of Black artists’ creations, a loss of royalties and creative control, and relatively little acknowledgement. The shortcomings of the 1978 Copyright Act necessitated the revolutionary shifts that came with the emergence of a democratic society, in which the defence of artists’ rights and reform of copyright were top priorities.
Protecting artists’ rights
The democratic era has introduced stronger legal frameworks that protect intellectual property, enable artists to defend their rights, and promote a more egalitarian music industry. These advancements show the vital role copyright plays in sustaining musicians’ livelihoods and fostering innovation in South Africa’s diverse musical landscape
Sebula acknowledges the significant progress made in protecting artists’ rights. “I haven’t stumbled upon challenges when it comes to full control of my music and its ownership,” he says, recognising that this is largely due to the advancements made since apartheid. “I believe this is because post-apartheid South African artists have experienced increased autonomy in the production and ownership of their music, also thanks to organisations such as Samro [South African Music Rights Organisation] and Mpasa [Music Publishers Association of South Africa],” he says. Sebula’s experience highlights the transformative impact of democracy on the music industry, with artists now enjoying greater creative control and financial benefits.
Record companies and the government organisations that had previously controlled the intellectual property and copyrights of many songs were overthrown, giving Black South African musicians more freedom to create and own their music when apartheid ended. The Copyright Amendment Act of 2019, which attempted to improve the protection of authors’ rights and remedy some of the injustices ingrained under apartheid laws, is a prime example of this change. In contrast to the 1978 Copyright Act, the new regulations improve intellectual property protections and support equitable compensations for artists.
Tsenolo Ntsane, operations manager at Mpasa and a renowned songwriter, underscores the vital significance of copyright protection for musicians. “Copyright is essential for safeguarding artists’ rights and ensuring they receive fair compensation for their work,” she emphasises.
As a champion of music, Ntsane, also known as Nolo Harmony, has navigated both the performance and regulatory sides of the industry. Her passion for music began in high school, when she developed a love for song writing. Ntsane licensed her songs at a young age and pursued music contract law in her studies.
She stresses the transformative power of copyright knowledge for musicians. “Understanding copyrights is the very thing that can help a musician create a profitable career and that’s why it is so important,” she says. This insight stems from her unique blend of artistic experience and regulatory expertise. At Mpasa, Ntsane seeks to contribute to the value of artists’ work. Through partnerships with stakeholders, Mpasa aims to safeguard musicians’ rights and foster a fair, profitable environment.
Artists who do not copyright their work face potential revenue loss, lack of recognition and exploitation, she says. Without protection, musicians risk losing ownership and control over their creations and how their music is used and distributed.
One song, two rights
“When somebody creates a song, two rights are born,” Ntsane says. “The first is the master right, which refers to the actual sound recording of the song. This right is controlled by either the artist or the record label and generates income through mechanical royalties.
“The second right is the publisher’s right, pertaining to the composition itself – the lyrics and melody. This right represents the individual creative work underlying the sound recording, earning performance royalties whenever the song is performed publicly, played on the radio, or used in a live setting.”
Ntsane emphasised that this knowledge is particularly crucial in South Africa, where historical injustices have left a lasting impact on the music industry. “During apartheid, many Black artists were disenfranchised and lacked understanding and access to these rights, often losing control and revenue from their creative work,” she says.
To address this legacy, Mpasa prioritises empowering its members through education. “We recognise the historical disparities and strive to bridge the knowledge gap,” Ntsane says. “Through regular webinar sessions and workshops, our members gain a deeper understanding of music copyright, mastering the intricacies of master and publisher rights to safeguard their creative and financial interests.” By fostering awareness and expertise, Mpasa aims to ensure South African artists, particularly those from historically marginalised groups, can protect their intellectual property, secure fair compensation, and build sustainable careers in the music industry.
“South African musicians need to adjust to the changing landscape of the music industry as streaming services and digital platforms do, all the while fighting for just recompense and the defence of their rights,” Ntsane says. “While post-democracy laws have made a great deal of progress, there are still many challenges in the way of long-term success, which means that attempts to empower artists and increase their visibility in a more competitive market must continue.”
South Africa’s musical journey reflects its complex history and vibrant democracy. Visionary artists like Ngozi, Masekela and Fassie defied apartheid’s censorship and exploitation. Today, Samro and Mpasa champion artists’ rights, allowing musicians like Sebula the freedom of not experiencing challenges when copyrighting their music.
The Copyright Amendment Act of 2019 has improved protection for authors’ rights, addressing historical injustices. As the music industry continues to evolve, Ntsane says Mpasa “will continue to prioritise education and empowerment, ensuring artists can protect their intellectual property and secure fair compensation.”
FEATURED IMAGE: Lost in the melody. Photo by: Katlego Mtshali
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Touring the city: Then vs now
The face of tourism has undergone a makeover since the dawn of democracy some 30 years ago, but whether it is a big enough change remains to be seen.
Stepping off a monstrously sized and noisy aeroplane at Johannesburg’s OR Tambo International Airport, warm air blows into your face. Your eyes squint while trying to adjust to the blinding sunlight. There is an immediate atmosphere of hustle and bustle, and you can hear several different languages being spoken around you.
Touring the city, you make your first stop at the Johannesburg Zoo for a glimpse of the Big Five up close and personal. A stroll around the Botanical Gardens leaves you parched, so you find yourself on Vilakazi Street for some authentic South African food and beverages. Feeling adventurous, you abseil down the Soweto Towers and ride a bicycle through the Johannesburg central business district and its arty Maboneng Precinct.
The next day, you hike through the Melville Koppies, visit the Apartheid Museum, cheer on a rugby game at Emirates Airline Park (previously Ellis Park Stadium), and enter a time capsule by exploring Mandela’s House and Liliesleaf.
You have an early flight out tomorrow morning, but there is still so much left to uncover; so much more still to experience.
However, looking down at the skyscrapers from your tiny aeroplane window, you realise something: if you had visited Johannesburg 30 years ago, the city would still be bustling with tourism, but you would view all the attractions through the eyes of a fractured society.
Contextualising tourism: More than 30 years in the making
Tourism has existed for centuries, even if it constantly redefines itself. Tourism did not become a concept only when trains, boats, cars or aeroplanes were invented. People have been moving from one place to another for different reasons for as long as mankind has inhabited the Earth, which is one early definition of tourism.
Tourism is different from expeditionism in the sense that tourists follow set paths or visit already discovered areas. Tourism can thus be for business, sports, medical, leisure, cultural or religious purposes.
Geoffrey Wall and John Towner say the history of tourism encompasses three themes: tourism in the ancient and medieval worlds, the Grand Tour era of the 17th and 18th centuries, and the growth of spas and seaside resorts.
These themes have some factors in common, mainly that individuals who participated in these kinds of tourism were powerful and wealthy.
Until 1994, tourism in South Africa had these two commonalities as well. Only people of an upper-class, white status could indulge in movement from one place to another. Black individuals were issued with a dompas: an internal passport that restricted their movement on foot. Thus, they could not indulge in free travel around a city like Johannesburg, never mind for leisure to a seaside resort.
This is what led to the White Paper of 1996, which described “diversity [as] where the country’s tourism attraction lies” and stated that the end of apartheid “opened the country’s tourism potential to the rest of the world and, indeed, to the previously neglected groups in society”.
Yet, tourism only really redefined itself in later years. Black people were now granted human rights, but they could not exercise in these rights until they were given a platform to practise them.
Itumeleng Rabotapi, director of strategic management, monitoring and evaluation at the department of tourism, says: “The above advantages notwithstanding, South Africa has not been able to realise its full potential in tourism. As such, the contribution of tourism to employment, small business development, income and foreign-exchange earnings has been limited.”
The White Paper says: “Had its history been different, South Africa would probably have been one of the most-visited places in the world.”
Johannesburg is seen as a microcosm of South Africa in this report, which investigates whether touring the city has changed since democratisation or if it will take 30 more years to master.
State of tourism pre-1994
If you went back in time to revisit apartheid South Africa, you would find a vastly different City of Johannesburg than the one to which you are accustomed.
A tourist in South Africa was typically a white, wealthy, powerful individual or family. To take part in tourism activities pre-1994, academic IB Mkhize explains that a person needed to have disposable income, leisure time, means of transport, freedom of movement, access to facilities and destinations to visit. The apartheid regime deprived all South Africans, except white people, of these things.
Jane Skipsey, a former hotel general manager and guesthouse owner, says: “The hotel industry was very glamorous in the 1980s, with lots of glitz. The five-star Carlton Hotel [now closed] in downtown Johannesburg was buzzing with international guests.”
Academic Christian Rogerson says the crisis tourism experienced until 2010 has roots in the policies of apartheid. He places emphasis on the Soweto Uprising of 1976 and the declaration of a state of emergency in the 1980s, which led to South Africa being politically isolated from the rest of the world.
However, despite this, Skipsey says, “Business still had to be conducted and holidays were still taken. There were not that many prominent hotel groups at the time and Southern Sun dominated the market, with business and leisure hotels aplenty.”
Justyn Spinner, managing director of Hello Lifestyle Magazine (formerly Hello Joburg, Hello Cape Town, Hello Durban and Hello Pretoria), says that in the 1980s, when his father pioneered the company, “There were no reliable sources of lifestyle and entertainment content.”
This is what inspired Spinner senior to create a guidebook-style publication featuring lifestyle and attraction spots in Johannesburg. It was targeted at people who had the freedom of movement and choice to partake in leisure activities.
Christo Nicolopoulos, a restaurateur in Johannesburg, says that pre-1994, “The process of opening a restaurant was less bureaucratic.” Nicolopoulos opened many high-end restaurants and he was also involved in “black eating houses… and opened the first eating house with proper plates and knives and forks in Kempton Park”.
“Black eating houses”, or restaurants for black people, show the depth of apartheid segregation in the tourism sector. Black people were not granted access to mainstream tourism activities and were often left undignified and underprivileged in what they could pursue for leisure.
Although Johannesburg was a world-class city with beautiful hotels and restaurants that international businesspeople or tourists would travel to see, its status was maintained on the foundation of apartheid.
State of tourism post-1994
The numbers say South Africa’s tourism sector has been on the mend since 1994. With international sanctions lifted, and the eyes of the world on South Africa’s new democratic state, tourism experienced a boom.
The inception of South African Tourism also helped to rebrand the country and manage its reputation. The body was instituted with the hope of allowing historically disadvantaged South Africans to benefit from the sector.
Rogerson says, “Domestic rather than international tourism is the backbone of the South African tourism economy. While the major component is accounted for by white South Africans, steady growth is occurring in the black tourism sector.”
The tourism industry is more diverse now in terms of ownership and clientele. The introduction of small to medium-sized enterprises and the department of tourism’s enterprise development and transformation programme allowed locally made products and services to enter the tourism market.
One example is the Yeoville Dinner Club, pioneered by Sanza Sandile. For Sandile, who grew up in apartheid Soweto, this dinner club “has become a vision and a direction of [his] childhood dream”. After moving to Yeoville at the dawn of democracy, he wanted to redefine what was once called “a derogatory shebeen in [his] grandmother’s day”.
Sandile’s dinner club “is about celebrating this piece of history through food socials”. The dinner club has “enjoyed a whole mix of international guests and real local foodies from a slightly higher LSM [Living Standards Measure]”.
Locals often describe Yeoville – and Hillbrow – as the geographical centres of deterioration and crime. However, Sandile says his patrons view the now “accidental pan-African suburb” as “one of the most popular cultural and topical spaces in Johannesburg”.
Nicolopoulos says black economic empowerment policies created a group of black diners, colloquially known as “Black Diamonds”, who enjoy splurging on champagne and cognac on occasion.
A tourist of colour who often frequents the streets of Johannesburg is 21-year-old Uyanda Tyusha. After growing up in Johannesburg, Tyusha moved to Stellenbosch to finish his tertiary education.
He says: “Having previously lived in Johannesburg, I often travel back to visit friends and family… I mostly find myself going out for something to eat, either lunch or dinner… I also go to attend musical festivals or concerts… I am interested in.”
As a student on a tight budget, Tyusha dreams of “visiting the lesser-travelled areas in the country and discover[ing] more” in years to come.
Being a Born Free, Tyusha “can’t image having restrictions on the sort of travelling that [he] does”. He says if had been born during apartheid he “would most likely be restricted to movement within [or] between the townships”. There would be no chance of him visiting an establishment like the Yeoville Dinner Club.
At the National Job Summit in 1998, tourism was recognised as “the sector which had the greatest potential for reducing unemployment in the country”, Rogerson says. This potential was envisaged as manifesting through community-based initiatives and township, rural and cultural tourism.
Tourism in Johannesburg now has an economic, social, political, cultural and educational value. In 2024, the city has endless tourist attractions, most either born from apartheid, in remembrance of apartheid and the people who lived under it, or an attempt to advantage previously disadvantaged people.
Tourism as a a socioeconomic sector
According to the 1996 White Paper, South Africa relies on tourism to increase the rate of employment, promote equality in all aspects of society, and contribute to the overall gross domestic product (GDP) and investment in the country’s economy.
South African Tourism, the marketing arm of the department of tourism, says tourism promotes “the sustainable economic and social empowerment of all South Africans”. Tourism is a multi-sectoral industry, which means its growth allows multiple sectors to grow too and for more jobs to be created.
The White Paper found that tourism contributed 2% to the GDP in 1994, which increased to 4% in 1995. In 2024, Statistics South Africa (Stats SA) says tourism contributes an estimated 8.8% to the GDP. In 30 years, tourism has more than doubled its contribution to the economy.
Spinner says “we should see the tourism industry as a major contributor to our GDP”, due to its diverse offerings and the welcoming culture of our country to international visitors.
There were an estimated 70,000 working in the sector in 1994 and 1.7 million in 2024. Globally, one in every nine jobs is in the tourism sector, which is about 10.7% of the global workforce.
Skipsey says there is still a massive educational divide that limits equality in the tourism sector’s workforce. The majority of management positions were previously held by white people and unskilled positions were given to people of colour.
“This started to change with employment equity, brought about by the new government post-1994,” Skipsey says. “There are still hurdles. Some black South Africans are assigned jobs for which they are not qualified and this can end up messy.”
Rogerson estimates that 50,000 international tourists visited South Africa in 1986. When 1994 rolled around, the White Paper estimates South Africa welcomed 4.48 million international tourists. Stats SA estimates this number to be 10.7 million in 2024.
Stats SA says tourism is set to grow 7.6% annually over the next decade. This is above the overall economic growth rate of 1.8%.
To residents of Johannesburg, this might come as a shock. The city is not seen as glamorous by its inhabitants, but rather as deteriorating by the second.
Restaurateur Nicolopoulos says, “our economic hub, Johannesburg, is avoided by tourists”, due to the “lack of law and order, corruption and high levels of crime”. The city has simply become “a transit port of entry for Cape Town and the Kruger National Park”.
Overall, the department of tourism’s Rabotapi says tourism is “well-positioned to link under-developed regions with the developed ones as it transcends spatial and geographic boundaries”.
Tourism has a unique ability to promote and maintain harmony on the premise of a shared love for one’s country.
A peek into the next 30 years
Although tourism is classed as a leading socioeconomic sector in today’s South Africa, it still has unlocked potential.
Rabotapi says: “Growth of tourism to and within South Africa requires the portfolio to provide an enabling environment.”
This includes improving tourism assets and infrastructure, ensuring tourism safety and access to basic services, and developing a culture of travel among South Africans so the sector is supported domestically.
Throughout South Africa’s 1.27 million square kilometres, Johannesburg’s province of Gauteng takes up a mere 18,000. Yet, it has made significant strides in transforming the tourism sector during the 30 years of democracy.
Touring the city was once a privilege; now, doing so is a reminder of what humanity went through to be alive today.
International tourists are entranced by a tour guide at Constitution Hill, where they soak up the suffering of wrongfully incarcerated individuals in the apartheid era. Photo: Victoria Hill 
Just metres away stands a school tour at Constitution Hill, creating a stark contrast between the domestic and international groups. These local visitors are here for an educational purpose that provides insight into their city’s history. Photo: Victoria Hill 
A group of Zulu dancers entertain the international tourists on Vilakazi Street with a cultural display of song and dance whilst cameras were at the ready. 
On a pavement in Vilakazi Street, local artists sell their crafts to all visitors. South Africa needs more of this domestic tourism where talent becomes a livelihood. Photo: Victoria Hill 
International tourists poured onto the Soweto Hop On & Hop Off bus after visiting Mandela’s House, and were easy to spot in their red contraption. Photo: Victoria Hill 
Locals commemorate those who died for their country by visiting the South African National Museum of Military History, and marvel at what it would have been like back in the day. Photo: Victoria Hill 
International tourists photographing the infamous Hector Pieterson Memorial in Orlando West had cameras swinging from their necks in their classic dress of shorts and t-shirts. Photo: Victoria Hill 
Where international tourists would visit the Kruger National Park, locals in Johannesburg simply visit the metropolitan zoo to spend a day in the sun with roaring lions and grazing rhinos. Photo: Victoria Hill 
The infamous open-top City Sightseeing Bus is visible most days in Johannesburg. When locals are hard at work, internationals sit atop the red double-decker and view the city in its holistic form. Photo: Victoria Hill 
Residents of Johannesburg call the Maboneng Precinct their artistic playground with its vibrant stores, boutique cafes, and entertainment centres that provides locals with opportunities to relax after work or over the weekends. Photo: Victoria Hill
FEATURED IMAGE: Johannesburg is known for the spotting of Jacaranda trees all about its suburbs, and they have become a tourist attraction in Spring time. Photo: Victoria Hill
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REVIEW: Oratorio of a forgotten youth
The ensemble put together by producer and trumpeter Mandla Mlangeni took the Great Hall audience through the stages of grieving the failed dream of freedom.
The Amandla Freedom Ensemble led by the Standard Bank young artist for jazz 2019, Mandla Mlangeni, launched their interdisciplinary album Oratorio of a forgotten youth at the Wits Great Hall on Saturday, May 27.
Mlangeni told IOL that the album was the culmination of a production that started in 2019, that sought to tell the story of how far South Africa had come in confronting its past.
The production brought together a collaboration of musical ensembles, with their own distinct sounds, laced with provocative spoken word poetry and a visual artist who used sand to draw intricate images with his hands, live, to the sound of the music. The images changed throughout the production but the most memorable were clenched fists and trees that had African faces instead of leaves. The visual artist, Tawanda MuAfrika also created the album art.
The empty stage was set up as though for a multi-piece orchestra with what initially seemed like too many moving parts. And when the artists walked onto the stage, it was difficult to know where to focus one’s attention. To the right, poet Lesego Rampolokeng sat at a desk with his anthology in front of him, a string quartet and a nine-piece choir behind him.
Jazz pianist Yonela Mnana set up with afro-jazz group A Brother Moves On and visual artist MuAfrika on either side of him. MuAfrika’s sand art was being projected on a screen at the back of the stage. Right at the front was the Amandla Freedom Ensemble with Mandla Mlangeni poised like a conductor with his back to the audience.
The Great Hall was half full with a mix of students and non-students, with the audience appearing as if they were in the creative industry by the colourful ways that they were dressed.
Katleho Hubi, a third-year bachelor of fine arts student who attended the show, said that she was deeply moved by what felt to her like “a spiritual experience”. She said that the production had inspired her to want to explore the relationship between music and visual art in her own work.
Mlangeni’s production took the audience from mourning to celebration by blending a bit of afro-jazz, afro-beat, classical, poetry and chorus like a true oratorio, which is a large-scale musical production that blends orchestral, voice and choral music.
The first piece of the night, the gathering, started with Rampolokeng loudly reciting spoken word poetry that sounded like a lamentation over a broken promise. The slow introduction of the bass and a soft djembe drum began to drown out the poet and brought in the hum of the choir. The saxophonists led the trumpet in, and then everything went quiet, leaving Mlangeni in a trumpet solo.
The choir was reminiscent of an African indigenous church, with the use of music as a medium for connecting with spirit. They took the lead on ubaba, a song about the search for a missing father. The entire ensemble joined into a melancholic sound of a prayer that for a moment seemed to be a petition that was no longer to an absent earthly father, but to a heavenly father, who seemed to be absent and blind to the pain of African people.
The arrangement came together beautifully. Led by the protest poetry of Rampolokeng, the production carried the same impassioned energy that can turn a church service into a site of protest.
The afrobeat sound of inkululeko brought Siyabonga Mthembu of The Brother Moves On onto the stage to lead in the demand for the freedom that democracy had promised.
The drummer played the consistent sound of a marching band in #movement/soldier’s lament and Rampolokeng came back to remind us that “our hopes are buried alive”, when those who were at the forefront of fighting for freedom, turned to gatekeepers of the wealth that should have been shared amongst all.
In darkness, all the different pieces of the ensemble seemed to do their own thing, like loud mourning at a wake deep into the night, all crying separately, over the same loss. Rampolokeng also cried in his own way, about the disillusionment of protests that yield nothing in the long term, even after lives had been lost. He juxtaposed the 1976 uprisings with the 2015 #FeesMustFall protests and expressed sorrow over the lack of change.
Crying turned to celebration when the show closed with woza, which got the audience to its feet to dance and rang in my head long after the show had ended. The high tempo and vibrant piece goes “Woza mama, woza” but the audience recast it as “Woza Mandla, woza” as it sang along all the way out of the Great Hall.
Vuvu rating: 9/10
FEATURED IMAGE: Trumpeter Mandla Mlangeni leads a multi-disciplinary musical production at the Wits Great Hall. Photo: Morongoa Masebe
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SLICE: Online gaming got me through lockdown
While gaming is not a cure for depression, it helped me to grow into a more social person, to form connections with people more easily, and helped me to feel less isolated.
During the covid-19 pandemic in 2020, the lack of social interactions tied together with the fear and anxiety driven by fake news and conspiracies around vaccines in the media, caused my mental health to plummet.
It was my first year of university and before I had had a chance to form connections on campus, we were thrown into a state of disaster and the country was placed on lockdown. I spent weeks feeling sorry for myself, not knowing how to entertain myself nor who to speak to besides my family who I had been locked in the house with for over three months. Eventually I turned on my PlayStation console for solace.
While there was access to mental health services during the pandemic, many people had physical and mental restrictions that prevented them from seeking help. A democracy survey conducted by the Human Sciences Research Council and the University of Johannesburg’s Centre for Social Change and Development revealed that in 2020, an estimated 33% of South Africans were depressed, 45% were fearful of catching the virus and 29% were feeling isolated and lonely. The survey consisted of 19 330 participants of different races and backgrounds, with the majority aged 25 to 59.
I shared the sentiments expressed in the survey. That is why I turned to gaming to connect and create a reality that was less depressing than the one I found myself in.
Gaming was my way of coping with the lack of human interaction and fewer entertainment activities brought on by the nationwide lockdown. In June 2021, Forbes Technology Council reported an increase of 200% in people aged over 60 searching for games, joining the 93% of teens who game regularly, according to research data provided by G2A.com – the world’s biggest digital marketplace for gamers.
These statistics show that people globally turned to gaming during the pandemic because of the need to find alternative ways to connect and communicate with others amidst lockdown measures. I also wanted to alleviate my newfound depression brought on by harsh lockdown measures.
I started playing a multiplayer, online game called Call of Duty where I met a group of people that I consider close friends to this day. We began entering e-sports competitions where we could compete in online tournaments for cash rewards. We would do this by signing up on sites such as the African Cyber Gaming League and VS Gaming where you can connect with other people who enjoy the same game as you, and became part of a large community of people from diverse backgrounds and walks of life.
Gaming has helped me overcome social anxiety by allowing me to socialise in virtual chatrooms with people from all over the world, where I have learnt better communication skills and have been able to find people I relate to more. I always struggled to find something I was passionate about as I was not very good at schoolwork and failed dismally at sport. Finding games helped me discover my true passion for e-sports and unlocked a whole new world for me.
There are, however, studies that have found negative aspects to gaming. The Harvard Medical School reported that gaming can be associated with serious health risks such as sleep deprivation, insomnia, depression, aggression and anxiety. The report also stated that gaming can lead to a “gaming addiction”, resulting in loss of interest in activities and crucial relationships with peers, and can lead to obesity due to increased food intake while gaming. These are real issues that gamers do face, however, a general population sample report from the American Journal of Psychiatry shows that only an estimated 0.1-1% of people suffer from gaming addiction.
An American Counselling Association report also found that gaming could have negative mental health consequences including: negative coping mechanisms, unhealthy lifestyles, loneliness, isolation and depression. However, in my experience, gaming has had quite the opposite effect.
Gaming in moderation is key for absorbing the positive effects such as setting specific times to game and making sure to seek professional help when needed. To avoid the negatives associated with gaming, the Harvard Medical School suggests limiting screen time and engaging in healthy activities such as exercise or socialising physically.
Anxiety and depression are major issues the world faces today, especially after the pandemic as it has altered and changed the lives of almost everyone. Gaming is a great way to alleviate some of the strain caused by these serious mental illnesses. There are many different genres of games, so I truly believe there is a game out there for everyone to play and form connections in.
FEATURED IMAGE: Georgia Cartwright. Photo: File
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