June 16 marks Youth Day in South Africa, commemorating the 1976 Soweto Uprising. Fifty years ago, thousands of primary and high school pupils marched against the apartheid government’s imposition of Afrikaans as the medium of instruction. What began as a peaceful protest, which was meant to end at Orlando Stadium with a rally, was cut short on the way when police opened fire, killing hundreds of students.
On June 16, 2026, hundreds of people, including university students and members of civil society, gathered in Soweto to retrace the original route and “finish what was started”. The march honoured the courage of the 1976 generation and stands as a reminder that their fight for freedom and justice continues to inspire South Africa’s youth today.
Opening speeches before the march. Photo: Hannah Brown
Youth walking through Soweto. Photo: Hannah Brown
March to “finish what was started”. Photo: Hannah Brown
Youth Day March. Photo: Hannah Brown
Youth Day – commemorating the 1976 Soweto Uprising. Photo: Hannah Brown
‘We are what was dreamed’ poster. Photo: Hannah Brown
In 1976, black students bravely marched against the apartheid government. Photo: Hannah Brown
Marching toward Orlando Stadium. Photo: Hannah Brown
FEATURED IMAGE: Opening speeches before the march on June 16, 2026. Photo: Hannah Brown
Every year the days leading up to Africa Day, street vendors start displaying their best cultural outfits because they know the public want to look good for the occasion. However, in the mix of cultural outfits and good cuisine the real meaning behind the celebration of Africa Day gets lost.
Ubuntu, I am because we are, is a traditional African philosophical concept and the foundation on which the Organisation of African Unity (OAU) was built on. The birth of the OAU, now known as the African Union (AU), on May 25, 1963, is the core reason why we celebrate Africa Day. 32 independent African states came together to fight colonialism and promote unity. This day is meant to strengthen the Pan African spirit, celebrate cultural diversity, reflect on progress and rewrite the narrative of Africa’s story.
Sadly, the meaning behind the celebration of this day has been watered down, and it has become just another day of dressing up, eating delicious food or a surge in sales for street vendors. Ntando Makhubu, a journalist at The Post Newspaper, wrote in his article that he spoke to a street vendor in Pretoria who said “For me, for us, it means a boom in business” which highlights how unaware some members the public are about the true intent of Africa Day.
Africa Day is only recognized as a public holiday in a handful of African Union member states, only six to nine of the 54. Mako Muzenda, a former freelance writer for Daily Maverick, wrote an article saying that the “25th of May is about statements and fanfare, not about making serious moves.” Africa Day has become more performative than educational or impactful, and this is another reason why the public’s awareness regarding Africa Day is low.
There are multiple articles promoting Africa Day celebrations that involve food, cultural dances, and dressing up. However, there are few speaking to the core reason of Africa Day and how Africa has grown or managed to rewrite its own story after colonization.
The lack of awareness shows how easily African history and unity can fade from public consciousness when not diligently taught. As the African Proverb says, “Until the lions have their own historians, the history of the hunt will always glorify the hunter.” This means if Africans do not actively preserve, teach and celebrate their own history and the foundation that it was built on, it will continue to be forgotten or overlooked.
Featured Image:Headshot of Chrislyn Majiedt, this week’s editor.
Wits is reopening Campus Lodge to ease postgraduate housing pressure, offering more affordable and dedicated accommodation for seniors.
The postgraduate accommodation has undergone much needed renovations.
The relaunch aims to address growing demand for affordable postgraduate accommodation at Wits.
Student leaders say the move is a step forward, but more support for postgraduates is still needed.
A once quiet Wit’s residence is preparing to welcome students again. The brown and blue building on the corner of De Korte and Station streets, may look the same from the outside but new rooms and common areas await inside.
Campus Housing and Residence Life (CHRL) confirmed that the postgraduate residence had been out of use and was in dire need of upgrades.
According to a post shared on CHRL’s TikTok page, the residence was initially expected to reopen on May 4, 2026, but couldn’t due to delays with equipment deliveries.
Claudine Prim the manager of the Central Accommodation Office, said the reopening is now expected on 18 May to address demand.
Prim said there is an “influx of postgraduate students looking for internal residences.”
The self-catering residence will offer a range of housing options, including studio apartments, two-bedroom apartments, and single rooms with shared kitchens and bathrooms.
Campus Lodge joins existing postgraduate residences including West Campus Village, International House and Wits Junction.
A picture of the entrance of Campus Lodge. Photo by: Sanele Sithole
For many students, the reopening could not come at a better time.
Mahloromela Silas Seabi, an MSc Computer Science student and chairperson of the Postgraduate Association (PGA), said postgraduate students often face limited and expensive housing options.
“University residences tend to be expensive, especially for postgraduate students, who are usually limited to Wits Junction, West Campus Village and International House,” Seabi said. “This gives an opportunity for more affordable postgraduate accommodation.”
He added that postgraduate students are often disadvantaged during residence allocation, as priority is usually given to undergraduate students, particularly first-years.
Seabi said demand for affordable postgraduate accommodation continues to grow alongside rising unemployment and economic uncertainty.
“Many students pursue postgraduate studies partly because of economic pressures, but often there isn’t enough affordable space to accommodate them,” he said.
Beyond affordability, Seabi argued postgraduate students require different support structures from undergraduates.
“A postgraduate space needs to cater for adults,” he said. “Some students are married; some have children. There needs to be communal spaces, lounges, good computing systems and support services that make students feel supported in their research journey.”
He added: “Accommodation is part of building a stronger postgraduate community — a space where students can interact, share ideas, support each other and manage the pressures of research.”
Students interested in applying for accommodation at Campus Lodge can visit the Central Accommodation Office on the ground floor of Solomon Mahlangu House for more information.
FEATURE: A picture of Campus Lodge. Photo by: Sanele Sithole
South Africa’s qualification for the 2026 FIFA World Cup has sparked familiar excitement among fans. For many, it brings back memories of the 2010 FIFA World Cup in South Africa. A tournament widely remembered as one of the most iconic in modern football history and the first ever hosted on African soil.
But 2026 is not 2010.
The upcoming tournament, hosted across the United States, Mexico, and Canada, arrives in a vastly different global climate. While FIFA has spearheaded the expanded format as a celebration of global football, fans have raised growing concerns about whether the World Cup will remain truly accessible to the people who give it life—the fans.
A major concern is accessibility. Reports and human rights organisations have warned that visa restrictions and immigration policies in the United States could make it difficult for fans from certain countries to attend matches (Amnesty International on travel restriction). While all qualified teams are expected to participate, supporters from parts of Africa, the Middle East, and other regions may still face financial and administrative restrictions that limit their ability to travel.
Another growing issue? Cost. Rising inflation, expensive accommodation, and long-distance travel mean that attending the World Cup is becoming increasingly unaffordable for ordinary fans. What was once a global gathering of football cultures risks shifting toward a more commercialised experience shaped by tourism markets and corporate access.
Alongside these concerns, FIFA’s cultural strategy appears increasingly rooted in nostalgia. The return of global music icon Shakira to World Cup discussions following her legendary 2010 anthem Waka Waka (This Time for Africa) has reignited excitement among fans. Music has always been central to football’s identity, and Shakira’s presence connects the present tournament to one of its most celebrated eras.
However, this raises a deeper question: is nostalgia being used to mask growing concerns about the tournament itself?
There is no doubt that the 2026 World Cup will be one of the largest sporting events ever staged. But scale is not the same as spirit. Football’s power has always come from its people, travelling supporters, emotional crowds, and global accessibility. Without that, the World Cup risks losing the very identity that made it the world’s game.
As excitement builds, one question remains unavoidable: what is a World Cup, if the world itself cannot fully be there?
FEATURED IMAGE: A graphic of Shakira and Zakumi. Photos by: Oouinouin and Jason Bagley. Graphic by: Sanele Sithole
Former Auditor-General Terence Nombembe takes the chair at Wits Council, bringing a legacy of accountability to the university’s top governing structure.
Terence Nombembe, a key figure in South Africa’s fight against state capture, was appointed Chairperson of the Wits Council on 6 May 2026.
Nombembe has been a member of the Council since 2021, providing him with years of insight into the university’s complex financial and policy landscape.
SRC Deputy President Sibusiso Ngele expressed hope that Nombembe’s history with student leadership will lead to a positive future for the university.
The University of the Witwatersrand (Wits) has officially appointed former Auditor-General and Zondo Commission investigator Terence Nombembe as the Chairperson of the Wits Council. The move, announced on 6 May 2026, brings a world-renowned expert in accountability to the university’s highest governing body.
A legacy of oversight
Nombembe is no stranger to high-stakes governance. Before his election to the Chair this month, he served as a member of the Wits Council for five years, starting in 2021. His professional pedigree is rooted in transparency; he served as South Africa’s Auditor-General from 2006 to 2013 and later as the Head of Investigations for the Zondo Commission into State Capture.
Beyond his public office, Nombembe has held influential roles as the CEO of the South African Institute of Chartered Accountants (SAICA) and served on the board of the WWF South Africa. His career has been defined by a zero-tolerance approach to financial mismanagement, a background that Sibusiso Ngele, Deputy President of the Wits SRC, considers a vital asset.
“He is very familiar with Wits’ proceedings and the Council in general,” Ngele said. “That background is very important for the institution’s future.”
While the appointment of an “integrity expert” carries significant weight, Ngele was careful to define the boundaries of the Council’s power. He noted that while the Council approves major policy, financial rules, and documentation, the day-to-day management of the university remains the responsibility of the Vice-Chancellor.
Ngele noted that Nombembe’s role is primarily one of oversight rather than executive action, emphasising that the entire Council structure, not just the Chair, is responsible for implementing the university’s approvals. “As much as he is [the] Chair, it’s not very executive decisions that he has [to make]; it’s the whole structure that’s responsible for that implementation,” Ngele explained.
Addressing sensitive issues
When asked if Nombembe’s history of holding institutions accountable would change how management interacts with student leadership on sensitive topics, such as campus infrastructure, Ngele admitted the answer is not simple.
“It would be very difficult to answer that question,” Ngele stated. However, he remained hopeful that Nombembe’s track record would lead to a more collaborative environment. “Given his history with the SRC, I think we can really hope for a great future ahead for Wits,” Ngele concluded.
Waiting for the full picture
At the time of publication, other top members of the SRC executive, including President Gilbert Nchabeleng and Treasurer General Sonwabo Mhlahlo, had not yet commented regarding their specific expectations for Nombembe’s term.
As Nombembe settles into the chair, the student body will be watching to see how his high-level expertise in accountability translates into the tangible student experience on the ground.
FEATURED IMAGE: Picture of the Great Hall at the University of Witwatersrand. Photo: Daniella Ripamonti
More than 3 300 students attended the university’s first Witsies Got Talent competition, where sold-out crowds, cheering audiences, and standout performances transformed the Great Hall into a celebration of student talent
Ntando Qangule won the competition and R30 000, followed by Zinhle Zonke Bhebhe with R20 000 and Luke Scrase with R10 000.
Singing, poetry, dance, and audience participation turned the finale into a celebration of student talent and campus life.
Cheers echoed across the Great Hall on Saturday evening as students chanted Ntando Qangule’s name before she had even stepped onto the stage.
Moments later, the third-year Bachelor of Arts in Theatre and Performance student delivered the singing performance that would win her the first Witsies Got Talent title and R30 000 in prize money.
The grand finale, hosted by Campus Housing and Residence Life on May 9, brought together the competition’s top 12 finalists after 137 students initially entered.
Qangule, who said she had been feeling ill before the performance, credited feedback from judges in previous rounds for helping shape her final act. “Perform. You’re not just here to sing. We know you have a voice, but perform,” she said, recalling the advice she received during the competition.
Poet Zinhle Zonke Bhebhe placed second and received R20 000, while second-year LLB student Luke Scrase secured third place and R10 000 for his tap-dancing performance.
The top three winners of Witsies Got Talent 2026 pose with their prize cheques at the Great Hall on May 9. From left are third-place winner Luke Scrase, first-place winner Ntando Qangule and second-place winner Zinhle Bhebhe alongside sponsors and organisers. Photo: Asisipho Lynette Mpahleni
Students fill the Great Hall during the sold-out Witsies Got Talent grand finale hosted by Campus Housing and Residence Life. Photo: Asisipho Lynette Mpahleni
Hosts Simon Bopape (left) and Khayalethu Xaba engage the audience during the Witsies Got Talent grand finale at the Great Hall. Photo: Asisipho Lynette Mpahleni
From left are judges Dr Moloi, Thembisile Mathebula, Vuyolwethu Matiwane and Sibusiso Mkhize during the Witsies Got Talent grand finale at the Great Hall. Photo: Asisipho Lynette Mpahleni
The winner of the Wooden Mic Talent 2026, Promise Ntshudisane, known as Dese Ke Star, shakes judge Sibusiso Mkhize’s hand. Photo: Asisipho Lynette Mpahleni
One of the standout moments of the night came from Scrase’s tap dancing routine, which left judge Vuyolwethu Matiwane admitting that she had forgotten to write down a score because she was so captivated by the performance.
“Audiences are not always open-minded enough to appreciate something like tap… but the judges and the audience really got into it, and I could not be more grateful,” Scrase later told Wits Vuvuzela.
The finale featured performances from Angelic Voices of Buffness, Luke Scrase, Kira Attfield-Fuchs, Zinhle Zonke Bhebhe, Munei Nthai, Nandi Moyo, Asibonge Ntuli, Ogomotseng Gaonathebe, Dineo Modisane, Raiders 6, Cebisile Banda, and Ntando Qangule.
Audience participation remained high throughout the evening as students sang, danced, and competed for prizes handed out by hosts Simon Bopape and actor Khayalethu Xaba. Fourth-year BA Theatre and Performance student Asibonge Ntuli also received a standing ovation before she even began performing her original song.
Celebrity performances from Aymos, Soweto’s Finest, and Clemour Ngobeni added to the atmosphere as judges Dr Moloi, Vuyolwethu Matiwane, Thembisile Mathebula, and Sibusiso Mkhize evaluated performances ranging from singing and poetry to dance and visual art.
Campus Housing and Residence Life organiser, Mr Maphumulo, said the initiative aimed to create opportunities for students beyond the classroom.
“The talent show is critical because it addresses several issues, such as alternative entertainment, raises awareness about drug/alcohol free residence communities, and most of all, mental health. The show not only gives a platform but also allows students to have a healthy competition amongst themselves,” he said.
Promise Ntshudisane, known as Dese Ke Star, won the Wooden Mic Talent 2026 category, a comedy-focused category created mainly for entertainment.
Alongside cash prizes, finalists also received Pick n Pay vouchers, sponsored trips, and opportunities to perform at future university events.
As the crowd slowly emptied from the Great Hall, students were still replaying performances, singing lyrics, and debating their favourite acts from the night.
FEATURED IMAGE: Witsies Got Talent 2026 winners Luke Scrase, Ntando Qangule, and Zinhle Bhebhe pose with their prize cheques after the grand finale at the Great Hall. Photo: Asisipho Lynette Mpahleni
Wits University reclaims African narratives through the South African premiere of Kancícà at the Digital Dome, proving 8K innovation is a powerful tool for cultural memory and heritage.
The Wits Anglo American Digital Dome is pivoting from its traditional scientific roots to become a hub for African mythology and storytelling.
Kancícà utilises high-end gaming engines and 360-degree 8K animation, positioning Wits at the global forefront of immersive digital production.
The project serves as a “portal” for students to explore the future of work, AI, and African leadership within the global digital ecosystem.
The interior of the Anglo American Digital Dome. Photo: Supplied
While the Johannesburg Planetarium officially completed its R90-million transformation into the Wits Anglo American Digital Dome in November 2024, a recent premiere suggests the facility is entering a new era of cultural significance.
On 8 May, the Dome hosted the South African premiere of Kancícà, an immersive experience that moves beyond traditional astronomy to signal a turning point for how the continent tells its own stories. The launch positions Wits as a leading hub for cutting-edge digital experiences rather than a mere consumer of Western technology.
Dr Moumita Aich, instrumental in the Dome’s research integration, notes that 8K full-dome technology allows for a “shared emotional experience,” emphasising that this technology creates new forms of public engagement while preserving heritage.
“The scale and detail make African histories and traditions feel alive and immediate,” says Aich. “In this way, the Dome becomes more than a scientific space: it becomes a place for cultural memory and reimagining African narratives through immersive storytelling.”
Festival director Alby Michaels explains that Kancícà focuses on creating work “by Africans, for Africans, and especially through an African lens”. The production uniquely utilised Unreal Engine, a high-end gaming engine, to render 2D and 3D animation for the full-dome experience. “It opens up the doors for more experimentation… so that we can become the leaders in our own narratives,” Michaels says.
For Wits students, Michaels sees the Dome as a laboratory for the “future of work”. “I’m hoping an engagement like this will open a little door, even a portal, for imagining the future in a better way for all of us,” he told Wits Vuvuzela.
Audience members from outside of Wits, Constant Volschenk and Bongiwe Ndulula, highlight the immersive nature of the dome, which relies on a 35-degree viewing angle in reclining seats. “The main scenes are in front of you, and the surrounding is the background of the scene,” says Volschenk. Ndulula was particularly moved by a spiritual scene involving a boat in a storm, noting that the 360-degree view offers a vital shift in perspective.
Following its premiere, the programme is now open to the public at the Wits Anglo American Digital Dome from 25 April to August 2026. As Aich suggests, if you have not yet watched this wonderful show, it is a necessary gateway into the future of African digital heritage.
FEATURED IMAGE: Exterior picture of the Anglo American Digital Dome. Photo: Daniella Ripamonti
The Melville Art Mile reactivates the creative heritage of the suburb.
Once a month, the Melville Art Mile creates a walkable art experience in the heart of student life in Johannesburg, Melville.
Artists, are given the opportunity to exhibit their work in a way that is accessible to all.
Melville is reclaiming its spot as Johannesburg’s creativity hub.
Ask anyone who has been a university student in Johannesburg; they have been to or at least heard of Melville. From the cute cafes to the busy bars to the grand graffiti adorning almost every crevice of the area, Melville creates a vibrant, friendly atmosphere that differs from its neighbouring suburbs.
The suburb has begun to center itself as Johannesburg’s creativity hub. Student culture has shifted the legacy of the environment from a quiet, calm Afrikaaner area to the lively, artsy dynamic it has become.
One event captures the soul of the suburb, the Melville Art Mile, a monthly event along the Melville Strip.
Canvases spill out onto the streets, loud laughter can be heard all around, and handmade trinkets are on display. This is the scene that greeted me when I visited on Thursday, May 7. The event invites people to enjoy a night of art, music, and community by providing an accessible way to curate and consume art, a welcome detour, especially for students.
Artwork by Indoni on exhibit at Melville Art Mile. Photo by: Kerese Govender
The Melville Art Mile offers opportunities for young emerging artists to display their work. This provides them with the push they might need to fulfil their dreams. A singular compliment on their brushstrokes from a stranger or even a few new followers on Instagram, is sometimes all it takes to get one foot out the door.
Many artists credited Melville in their artistic journeys as this environment is one of the only places that one can paint without anyone disturbing them, in reference to graffiti art. “Melville has always been known as an artist sanctuary.” Aubrey Moloto, the founder of Melville Art Mile, told this reporter.
Thalia Ngcobo, a young artist with work on display at the event, shared, “This is a great opportunity especially for those who are starting out, because starting out is scary. Doing this is the first step in your career.”
The Melville Art Mile is considered an “open market for artists because there’s nowhere in Johannesburg where you are able to sell your artworks to a public audience and receive all the comission,” Moloto explained while discussing the benefits of exhibiting at this event. “All you need to do is fill out an online form that can be found via the organisation’s social media pages and wait to be selected. Melville artists and businesses are prioritised as “this is for them, by them,” he further commented.
Artist Alex Dibakwane and his artwork, Ancestral Disputes, on exhibit at Melville Art Mile. Photo by: Kerese Govender
Moloto shared that the initiative of the organisation is to remind the city as well as everyone around it that Melville, at its core, is a creative space. Another goal is to boost the economy of the area.
Every turn that you take, every street you walk down, and every exhibit you enter, shows you exactly what Melville is becoming – a space for creatives to exist without (too much) worry.
The neighbourhood is more than just its dangerous reputation. Moloto hopes to “shake that narrative” through the First Thursday monthly Melville Art Mile events. The organisation’s driving force is to regenerate Melville’s creative roots and bring back life to the local businesses by boosting the economy and providing work for everyone in the neighbourhood, from students to residents to artists.
“Melville is a great example of what Johannesburg should be,” explained Neil Badenhorst, a frequent attendee at Melville Art Mile.
According to event attendees, art has a pretentious culture attached to it. In theory, art is meant to be something accessible and interactive, a source of community. However, in practice, it has become a very clinical experience. The welcoming and vivid feel has been disrupted by an elitist and alienating crowd.
Yet, this is not the case in Melville. In Melville, art is for everyone.
It belongs to those who cannot afford a ticket to an art gallery. It belongs to those who can sketch in their sleep. It belongs to those who do not understand the difference between acrylic, watercolour, or gouache. It belongs to those who can mould a block of clay into a masterpiece.
FEATURED IMAGE: Attendee looking at artwork on display at the Melville Art Mile. Photo by: Kerese Govender.
University of the Witwatersrand (Wits) Women’s Rugby showed early-season resilience and unity despite a 27-0 opening defeat to Zondi Women’s Rugby club on Saturday.
Wits Women’s Rugby opened their 2026 league season with a 27-0 defeat to Zondi Women’s Rugby Club at Wits Rugby Stadium.
Despite the loss, Wits showed resilience, strong defensive organisation, and growing team unity throughout the match.
The match reflected the continued growth of the Wits Women’s Rugby programme since its establishment in 2019.
The Wits Women’s Rugby team opened their league season at Wits Rugby Stadium on Saturday May 9, 2026, producing a spirited performance against a physically dominant Zondi side in a match that tested both their structure and resolve.
From kick-off at 13:20, Wits showed intensity at the breakdown, organised defensive sets, and confidence in possession despite sustained early pressure from the visitors. Zondi controlled the territory for much of the first half, scoring their first try midway through after winning a turnover inside Wits’ 22. Wits responded with improved defensive organisation and stronger carries, matching Zondi’s physicality in several exchanges. Zondi added another try just before half-time to take a 10-0 lead into the break, but the Wits team continued to contest every phase with discipline and commitment.
Their strongest moments came in defense, where disciplined communication and collective organisation reflected the side’s growing cohesion. Even during difficult phases of play, players responded to the coach’s instructions, quickly regrouping after errors and maintaining their defensive structure under pressure.
Pinned deep in their own half on several occasions, Wits absorbed repeated phases of pressure through committed tackling and strong on-field communication. The forward pack showed determination in the scrums, while ball carriers consistently worked hard to gain metres in contact despite Zondi’s physical dominance.
Wits Women’s Rugby forwards contest possession during a scrum against Zondi in their opening league fixture at Wits Rugby Stadium on Saturday. Photo: Alice Dhlamini
The second half brought renewed energy from the home side. Substitutions lifted the tempo, defensive organisation improved, and Wits showed greater confidence in building play. A yellow card during a crucial stage shifted momentum further in Zondi’s favour, but Wits still maintained their intensity and rate throughout.
Even as the scoreline widened, the home side continued fighting until the final whistle, earning respect from supporters and coaches alike for their commitment.
Captain Nikitha Dlabane, a final-year biomedical sciences student, said the performance reflected the growing unity developing within a relatively inexperienced Wits side, explaining that despite the pressure of the occasion, the players “stayed together as a team” and continuously encouraged one another throughout the match. She added that the side drew confidence from strong scrummaging, effective carries, and organised defensive folding, although she acknowledged that there is still room for improvement as the squad continues to develop.
“This game was tough because a lot of our girls are very new,” she said, “but we stayed together as a team. We encouraged each other all the way, and I feel like that is what makes the team.”
Dlabane also highlighted the technical aspects that gave Wits confidence during the match.
Head coach Winsdon Grootboom praised his side’s “never-say-dying attitude” despite the defeat, highlighting the determination shown by a squad that included “six or seven women” making their first rugby appearance. Although he admitted that “pressure creates mistakes” at crucial stages of the match, Grootboom said he was encouraged by the way the players “fought until the end” and continued trying to execute the structures and patterns they had worked on in training.
The Wits Women’s Rugby team warm up ahead of their season opener against Zondi Women’s Rugby Club at Wits Rugby Stadium on May 9, 2026. Photo: Alice Dhlamini
Wits player Mamokgopane Tsotetsi, a second-year industrial engineering student, said preparation played an important role in helping the team remain composed ahead of the fixture, with the squad focusing on “scrums, structures, lineouts, and all the basics” during training. She added that constant communication and encouragement on the field helped the side maintain its intensity during difficult passages of play.
Beyond the result, the fixture reflected the growing visibility of women’s rugby at Wits, with supporters highlighting the significance of women’s presence in a traditionally male-dominated sport. Second-year Bachelor of Arts student in South African Sign Language and political studies, Tshimangadzo Sigoba, described it as “refreshing seeing women taking up space in rugby,” while supporter One Segano noted that women’s rugby is gaining greater exposure and media attention on campus.
The crowd responded loudly throughout the afternoon, particularly after Zondi’s opening try, as tension built with Wits searching for opportunities to break through defensively. A Wits injury late in the match added further intensity to an already physical encounter, while the home side’s number one forward stood out with powerful ball carries and strong work around contact areas.
While the scoreboard may not have favoured Wits, the match stood as a testament to the team’s rapid progress and the rising profile of women’s rugby at the university since its establishment in 2019. As the season unfolds, the Wits Women’s Rugby team looks set to continue inspiring players and supporters alike with their unwavering determination.
A graphic highlighting Wits Women’s Rugby’s season opener against Zondi Women’s Rugby Club reflects the team’s resilience, unity, and determination despite a challenging start to the season. Graphic: Emmanuel Molebatsi
FEATURED IMAGE: Wits Women’s Rugby players chase down a Zondi ball carrier during their league opener at Wits Rugby Stadium on May 9, 2026. Despite a 27-0 defeat, Wits showed defensive resilience and growing cohesion throughout the match. Photo: Alice Dhlamini
A unique Mother’s Day storytelling event at Melville Koppies used African folklore to reconnect adults with childhood, motherhood, and tradition.
A Mother’s Day storytelling at Melville Koppies, Sunday 10 May.
It was a unique Mother’s Day experience where mothers could embrace their inner child.
Grace compared the process of the smelters to what motherhood is and showed us how it relates to mothers and what they go through.
As the birds chirped and the cold morning wind rushed through the branches at the Melville Koppies Nature Reserve, attendees made their way up the hill towards the lecture hut; they were in for an exciting time ahead. “A lot of people here come to me and say, ‘I haven’t had a story being told to me in 50/60 years and it just lit up my life’. And all the adults came to me after today’s storytelling and said, ‘I was a child again, thank you so much,” said Merle Grace, the voluntary storyteller at Melville Koppies Nature Reserve.
Grace had prepared two stories: an anti-colonial African parable titled “Fly Eagle Fly,” retold by Christopher Gregorowski, and ‘Kasanko’s Dream’ by Gcina Mhlophe about ironmaking. chosen specifically for Mother’s Day. “I wanted a story about something female and strong, that is not on the knows, and I found the story ‘Kasanko’s Dream’” said Grace. “I thought it was the perfect Mother’s Day story, because the process of ironmaking and fertility were seen as very similar in those days,” she said.
Merle Grace telling the story ‘Kasanko’s Dream’ on Mother’s Day. Photo: Chrislyn Majiedt
Grace, upon conducting research, found out that smelters, like the one they have on the Melville Koppie, were used for ironmaking. The process was seen as a holy and sacred process of making something out of what seems like nothing. The furnace was often symbolically linked to a woman’s womb, as both were believed to produce life and strength through hidden processes.
Iron was formed inside the furnace where no one could see the transformation taking place until the final product emerged, in the same way that a baby develops unseen inside a mother’s womb. To Grace’s understanding, the ritual around fertility and smelting were very similar for the iron Age farmers and miners 500 years ago.
Smelters were used to extract iron from iron-bearing rocks by heating the ore in a furnace with burning charcoal. Early African settlers such as the Sotho and Tswana built clay furnaces, often symbolic of a womb and the birthing process of iron. The settlers would refine and shape the metal into specific tools and weapons.
“What’s very special about sitting here is while she is telling a story the birds just start singing, there is always a bird doing something so you really feel like you are in a different place,” says Jenny Grice, acting chairperson and head guide and primary event coordinator for the Melville Koppies Management Committee. The combination of nature and storytelling made the audience forget that they were in the city, and everyone just embraced the moment.
Grace kept the audience on their toes – quite literally – by having them stretch and jump between the stories, to allow for one story to sink in and to prepare for the next one. Everyone gladly joined her and laughed in between stretches. She captivated the audience, whose eyes locked on her as she spoke.
Through storytelling, connecting with nature and embracing their inner child, the audience experienced a truly different kind of Mother’s Day –one that felt deeply meaningful and extra special.
“This was the most interesting Mother’s Day,” said one of the women in attendance when the storytelling was complete. The attendees were eager to speak to Grace after, most of them thanking her for the wonderful experience and the opportunity to embrace their inner child.
Feature Image: Merle Grace a voluntary storyteller at Melville Koppies Nature Reserve pointing at the trees. Photo: Chrislyn Majiedt
As the cold begins to settle and the due dates creep closer, the Wits Hindu Students Society creates a home away from home by hosting a Thunee tournament on campus.
The Wits HSS recently held its annual Thunee tournament.
Prizes were up for grabs ranging from R200 to R1000.
The aim of the tournament was to preserve the culture of the game and create a community for its players.
With money to be won and a game you love to play, what could be more exciting? On Friday, May 8, the Wits HSS hosted its annual Thunee tournament at the Margo Steele building.
Up for grabs – R1000 for first place, R400 for second place, and R200 for third place. These prizes are a culmination of the money raised by entry fee tickets, which cost R100 per team.
The game dates back to the 1860s, when Indian indentured labourers arrived to work on the sugar cane fields in what was then known as Natal. A game that helped them find connection and preserve culture amid their enslavement in a strange land.
Even though the game has evolved since, all you need is three of your best friends or complete strangers and a special pack of 28 Playing Cards.
“To continue hosting these tournaments will play a very big part in keeping Thunee alive at Wits, because naturally certain things skip generations, and we’re trying to prevent that.” explained Aadit Aheer, the former chairperson of Wits HSS.
The tournament was not just limited to Wits students but also open to members of the community. There were three teams made up of self-named ‘uncles.’
Five hours. Two calm initial rounds. A captivating quarterfinal. A chilling semi-final. A crazily competitive final.
While the game is about tricking opponents and reaching a total of 105 first, it is also about communication—how well you and your partner know each other, what a slight eyebrow raise, or nostril flare could mean.
As the tournament shifted from a fun night with friends to an intense evening of eye contact, smack talk and cards hitting the table, only four teams remained.
It was Uncles 3 versus Call & Loss, and Uncles 2 versus EN-SYNC.
The entire crowd peaking over their shoulders as they played for the top prize.
The night ended with Uncles 3 winning first place, Call & Loss taking second place and Uncles 2 coming in third.
The winners of first and third place graciously donated their prizes to the Wits HSS Temple and a first year they had played against, respectively.
Directions to Thunee tournament. Photo by: Kerese Govender
A hand of cards held by a player. Photo by: Kerese Govender
Names of teams playing in the tournament and a pack of cards. Photo by: Kerese Govender
Second place winners of the Thunee tournament, Savani Govender and Ashen Naidoo. Photo by: Kerese Govender
Deck of special cards for Thunee tournament. Photo by: Kerese Govender
Winners of Thunee tournament, Colonel Lionel Chetty and Kevin Peramaul, with the chairperson of the Wits HSS, Ushdir Singh. Photo by: Kerese Govender
“We would like to give this money back to charity,” said Colonel Lionel Chetty, member of Uncles 3. “For us, it is not just a game. It brings people together.” he further commented.
Thunee is more than just a game. It is the beginning of friendships. All it takes is one look at the table to your left, a quick question, “You know how to jol thunee?” and the rest is history. It serves as a semblance of home for those who leave everything and everyone, they know, to attend Wits. Whether it is at your grandparents’ dining room table or at the Matrix, the game lives on.
FEATURED IMAGE: Directions to Thunee Tournament. Photo by: Kerese Govender
Wits E-Hub Market Day turned the Library Lawns into a lively marketplace where students put their entrepreneurial feet first.
Wits E-Hub Market Day gives student entrepreneurs an opportunity to sell products, test ideas, and build visibility on campus,
With South Africa’s youth unemployment rate at 46.1%, more students are turning side hustles into viable income streams while still studying.
Student-led businesses like Ilanga Coils show how personal experiences are being turned into scalable ventures, supported by campus entrepreneurship spaces.
Image of crochet handbags by Eddies Craft
Decorated stalls lined at the Wits University Library Lawns as students moved between vendors selling jewellery, bags, new tech innovations, candles, henna art and sweet treats. Behind one table, third-year year Accounting Sciences student Tassy Mabuza was already close to selling out of his, Barebites, sweets from his business, Sweetplug co.
The Wits Entrepreneurship-Hub (E-hub) supports students interested in starting and growing businesses. Based at the Matrix Building on campus, the hub provides networking opportunities, pitching sessions, market days and co-working spaces for collaboration and ideation. Faith Njoko, project co-ordinater at E-Hub,says through weekly business events and entrepreneurship programmes, they help students gain practical business experience outside of the classroom. A vital bridge between academic study and the realities of running a business for many students.
Through initiatives such as the recent Market Day, students can test products, interact directly with customers and build brand visibility within the campus community.
Beyond the lively atmosphere, the event reflects a growing culture of entrepreneurship among young South Africans and students navigating a difficult economy and rising youth unemployment. According to Statistics South Africa, the country’s official unemployment rate rose to 32.9% in the first quarter of 2025, while youth unemployment among people aged 15 to 34 reached 46.1%. Against this backdrop, side hustles are becoming more than temporary trends for students. From haircare brands and food businesses to fashion and creative services, many young people are using entrepreneurship to create opportunities for themselves.
This growing entrepreneurial culture is largely solution driven, with students identifying everyday problems and developing businesses that respond to real needs within their communities.
Image of iLanga Coils Hair Products
One of the student entrepreneurs at the market, Nomusa Khambule, turned a personal struggle with natural hair into a growing business while completing her master’s degree in management specialising in entrepreneurship and new venture creation. Khambule’s Ilanga Coils was born in 2022 after she struggled to find products that worked for her own hair. Drawing from her science background, she started experimenting with ingredients and formulas before officially launching the business in 2023. “What started as solving my own problem became something much bigger once people started responding positively to the products,” she said.
Since then, the brand has expanded beyond campus markets and recently collaborated on a campaign with Absa, a milestone Khambule said validated the potential of student owned businesses. However, balancing postgraduate studies and entrepreneurship has not been easy. Khambule rejected the idea of “perfect balance”, saying that running a business while studying requires constant prioritisation. “Some days school needs more attention, and other days the business comes first,” she explained.
Despite the challenges, Khambule said physical market events remain important because customers can directly experience the products before purchasing them. “For haircare especially, people want to touch, smell and try products before buying them,” she said.
Additionally, she said that “markets help build trust and visibility.” Although Ilanga Coils is now profitable, Khambule said scaling production remains one of her biggest hurdles as she still operates from her kitchen. She hopes to eventually expand the brand into a recognised African cosmetics company.
Image of Snowflicker Studios Candles
As the market slowly began to quiet down, students packed away the last of their products after a day of sales and networking. For many of them, the businesses displayed on the library lawns are more than temporary side hustles, they mark the beginning of long-term ambitions.
FEATURED IMAGE: Image of Tassy Mabuza, founder of Sweetplug co at the E-Hub market showcase. Photo: Nqobile Mtshali
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, […]
