Women in journalism face online abuse – threats, harassment and silencing – but their courage and solidarity, show that storytelling and seeking truth matter more than hate.
We live in a remarkable but complex time of converging crises. The shift from ‘traditional’ journalism to digital platforms has transformed the field. Journalists no longer wait for print deadlines or broadcast slots; they speak directly to audiences, explain issues, challenge power and help people make sense of a world that often feels overwhelming.
This excites me, as it opens new creative ways to engage, but it also scares me. Visibility comes with risks and for women, the price is disproportionately high – harassment designed to discredit, exhaust and silence. Threats of physical harm, sexualised abuse and online attacks have become the new ‘normal’.
On August 6, I attended a discussion in Johannesburg between Karyn Maughan, Qaanitah Hunter and Redi Tlhabi, titled Women VS. The Digital Machine. These are three prominent women in journalism, and they spoke about navigating digital hostility while remaining visible and credible. For women, visibility often comes with targeted abuse that is designed to drive us out of the conversation.
A SANEF study found that 75% of South African women journalists face online misogyny. I don’t need statistics to believe it. It is a lived reality for many of the women I look up to. The hostility is not random. It is ‘manufactured anger’, heightened by platforms whose business models thrive on outrage and misinformation.
Women covering politics or corruption are especially targeted. In 2024, Women Press Freedom identified 12 Strategic Lawsuit Against Public Participation (SLAPP) suits against women reporting on gender issues.
As a postgraduate journalism student, I often think about the work of photojournalist Lynsey Addario. Her career reshaped my understanding of journalism’s power. Addario is a strong advocate that women should not be limited in the assignments they work on. “Men and women have different access, we relate to people on different levels, and people respond to us differently, so certainly that will create a different dynamic with a camera, but I don’t think that, for example, as a woman I see differently,” she said. “What I choose to capture is possibly different from what my male colleagues do.”
Social media, the same tool that connects us to readers, also amplifies anger and division. Anonymous accounts and bots spread lies and hate. We are living in a time that some call ‘hyperpolitics’ – a state of politicisation without corresponding political action.
Yet women journalists continue to report, hold power to account and to tell stories that matter. Their dedication inspires me. It reminds me that journalism is not about ourselves; it is about trying to tell the truth, empathy and refusing silence. As Tlhabi said, “If we get obsessed with the hate we get, then they have won.” Section 16 of the South African Constitution protects freedom of expression. The question Tlhabi always comes back to is, “What is the cost of my silence? If I stay quiet, who benefits and who suffers?”
Safety of women in journalism. Graphic: Hannah Brown
There are no easy solutions. Governments and media institutions must take cyber misogyny seriously. Platforms must be held accountable for the anonymity that shields abusers. Newsrooms, even as they shrink, need stronger support systems. And as journalists we must find solidarity, because joy is a form of resistance too.
As Hunter shares, “Don’t become what you fight. Foster joy. There is nothing that can contend with hate more than seeing a happy woman.”
Journalism has the power to change how people see the world. That is worth fighting for and it is worth protecting. As filmmaker Alice Aedy stated, “how to bring stories to life in a landscape that feels more challenging but perhaps riper with possibility than ever.”
Despite the hostility, I feel hopeful entering this field. Women in journalism have already transformed the industry, but the attacks are disproportionate, and we must continue to stand together. The advice I hear repeated is simple: never stop learning, never stop reading, and never forget the privilege and responsibility of this work.
FEATURED IMAGE: Safety of women in journalism. Graphic: Hannah Brown
Through drums, song and dance, Hey Hillbrow! Let’s Dlala! filled the inner city with a celebration of art and belonging. During a time marked by xenophobic tension, it was a reminder that community and creativity are powerful forms of resistance.
The theme ARISE centred on birds, with the grey go-away-bird reframed as a call of hope.
More than 350 children and young people collaborated with artists at the Windybrow Arts Centre, designing costumes and choreography.
Coming only weeks after marches demanding the removal of foreign nationals, the parade’s imagery offered a counter-narrative of unity and shared streets.
On August 8, Hillbrow’s streets became a stage for music, dance and joy, as the Hey Hillbrow! Let’s Dlala! parade transformed the inner city. In a neighbourhood too often reduced to headlines of crime and decay, it tells a different story – one of collaboration and creativity, and one that celebrates freedom and belonging.
People took to the streets of Hillbrow in bird costumes. Photo: Hannah Brown
The event is organised by Windybrow Arts Centre alongside Shade, and since its launch in 2017, the festival has been reimagining public space. It is about “giving young people, across binaries, age and places of origin the space to play, to express and to have agency over their voices, their version of the inner city and how this place can be perceived,” states Tamzyn Botha, curator of the parade and director of Shade.
The parade carried a particular weight as South Africa continues to grapple with xenophobic violence. Only a few weeks earlier, Hillbrow had been shaken by the June 30 marches demanding the removal of foreign nationals.
Protests took place across South Africa. Photo: Hannah BrownProtests by the group ‘March and March’ took place on June 30, marking the unofficial ‘deadline’ set for undocumented foreign nationals to leave South Africa. Photos: Hannah Brown
Birds were at the centre of this year’s theme, ARISE. The festival’s mascot was the grey go-away-bird, or lourie, known for its sharp warning call. This was reframed as a call of hope, a reminder that communities can raise their voices in unity against hatred. Within this context, it felt like the festival answered back with colour, laughter and carried an important message: Hillbrow belongs to everyone.
The parade began at the Windybrow Arts Centre, which is a prominent hub of creativity in Johannesburg, before making its way through the streets. Hillbrow came alive with drums, costumes and singing. More than 350 children and young people ‘took flight’ across borders, their feathers fluttering as they danced, signifying freedom of movement and connection across divides.
Artistic expression was central to the parade’s formation. Children and teenagers spent two weeks learning new creative skills and collaborating with artists at the Windybrow Arts Centre to design costumes, choreography and music. As Botha said, “the ripples of this work, of the parade and the relationships made during this process, far outweigh the ‘end result’.” It brings young people together in a city where they are often excluded from decision-making. The creative process shows how, through art and performance, Hillbrow’s story can be shaped by its own residents and connectedness.
Hundreds of young people took to the streets for the seventh annual Hey Hillbrow! Let’s Dlala! parade. Photo: Hannah BrownHillbrow’s streets came alive with music and dancing. Photo: Hannah BrownYoung people dancing to the music during the parade. Photo: Hannah BrownSingers performing at the festival. Photo: Hannah Brown
The annual parade takes place on the eve of Women’s Day, marking 70 years since the historic 1956 Women’s March, when thousands of women stood against apartheid pass laws. This year’s theme felt especially poignant, as debates about who belongs in South Africa’s cities remain tense.
The contradictions felt impossible to ignore. Only weeks earlier, the same streets had been filled with chants of division.
Just as those women fought against restrictions on movement, the imagery of birds gliding through Hillbrow challenged today’s ‘cages’ of xenophobia. The festival did not erase the xenophobic tensions, but filling Hillbrow’s streets with birdsong, dance and laughter for an afternoon reminded Johannesburg that art can be resistance and hope.
In the years ahead, the organisers hope the parade will continue to offer “a shared sense of possibility through wonder, inside what feels like chaos”, says Botha. They envision it becoming more youth-led, “and this type of framing gives the parade over to those it represents.”
FEATURED IMAGE: People took to the streets of Hillbrow in bird costumes. Photo: Hannah Brown
A mere Women’s Month special ‘pat on the back’ does not do justice to the contributions women make to South African sport. It is high time we call a spade a spade.
Every August for Women’s Month, a familiar and performative tradition unfolds across South Africa. Corporate brands flood their social media with daring graphics celebrating iMbokodo and sporting authorities release sleek press statements praising the ‘unshakable resilience’ of our female athletes; an obviously calculated, annual performance intended to score cheap public relations points on the backs of women who spend the other eleven months of the year fighting for proper recognition, infrastructure and financial support.
This hypocrisy deserves to be exposed. Resilience should be celebrated as a personal triumph, not weaponised as a convenient excuse for corporate and systemic neglect.
The 2026 Commonwealth Games, a multi-sport event hosted in Glasgow, Scotland, began on 23 July until August 2, 2026. A total of 112 athletes represented Team South Africa, 53 of whom were female athletes, accounting for more than half of the team. Of the 28 medals won, 11 medals, plus 1 shared medal in a mixed event, came from our sportswomen.
On August 1, the Minister of Sport, Arts and Culture, Gayton McKenzie, congratulated Team South Africa on its brilliant performance: “This team went to Glasgow and did us proud.” Post the congratulatory speech, the obvious reality remains unchanged.
These victories were achieved despite the unequal system, considering what our women had to overcome simply to stand on those stages.
After multiple health setbacks, Lara van Niekerk refused to allow hardships to further dictate her success. After successfully defending her women’s 50m breaststroke title in 30.43 seconds, she stated that this victory “means more than the one four years ago because of the difficulties I’ve had to overcome.” Behind her stood a sisterhood of excellence. Aimee Canny won two silver and bronze medals; Erin Gallagher won a silver and three bronze medals; Kaylene Corbett came in with a silver medal and Olivia Nel with a bronze medal. Javelin star Jo-Ané du Plessis, despite having undergone an emergency back surgery for a herniated disc, finished in sixth place.
But why must our sportswomen constantly play the martyr?
Sporting organisations and commercial sponsors thrive on the narrative of resilient women who continuously ‘overcome the odds.’ It makes for a heartwarming marketing campaign, while conveniently skipping over why these odds exist in the first place. Jo-Ané du Plessis was praised for her recovery, but her injury exposes how fragile an athlete’s support system can be. While she received professional medical assistance, the system at large remains broken.
Truthfully, hashtags, shout-outs and branded campaigns during women’s month are not empowering. Financial backing that equals that of sportsmen is.
The South African sports authorities need to put money where their mouth is and start funding our sportswomen like the champions they are. Romanticising the struggles of our athletes to mask administrative incompetence and putting up patronising Women’s Month banners is just not going to cut it anymore.
FEATURED IMAGE: A graphic of South African sportswomen. Graphic by: Naledi Maraisane
Young researchers gather at Wits to present solutions to rising global issues.
Falling Walls Lab Gauteng was held at Wits where students competed for a spot on the international stage in Berlin.
The competition required pitchers to present an idea that addresses global challenges.
Researchers, innovators, and entrepreneurs were given an opportunity to engage with people outside of their disciplines and institutions.
A Wits honours student, Alimerinda Mlambo, will represent Gauteng at the international Falling Walls Lab finale in Berlin after winning the provincial competition, with an AI-powered translation platform designed to break language barriers.
Picture of Alimerinda Mlambo, the winner of Falling Walls Lab Gauteng 2026, and her certificate & ticket to Berlin. Photo: Kerese Govender
The competition, held at Wits on August 5, saw about 20 students drawn from Wits, University of Pretoria, and Tshwane University of Technology, present their innovations aimed at tackling some of the country’s most difficult challenges.
The event was hosted in partnership with the DAAD Information Centre Johannesburg and the Falling Walls Foundation. Participants had just three minutes, including answering judges’ questions, to convince an expert jury that their pitch could help solve global issues.
Mlambo, an Information Systems honours student, took first place with her invention, eLingo AI, which aims to solve language exclusion in public spaces through real-time translations. She used a fictional character by the name of Lerato in her pitch, but the story was inspired by her lived experience of sitting through a conference presentation delivered in French that she could not understand.
When asked if this will cost human interpreters their jobs, Mlambo said, “We’re not trying to replace interpreters. We’re making language accessibility available to organisations that could not afford it otherwise.”
Unlike traditional interpretation services which rely on multiple interpreters, special equipment, and significant expenses and planning, eLingo offers an affordable alternative. The platform already includes all 11-official spoken South African languages and has attracted more than 100 beta users. Mlambo stated that the team has plans to expand to other languages.
She believes this kind of software is especially needed in South Africa, where only a small portion of the country’s population speaks English as a home language. “I want to create a future where people are no longer excluded from conversations they were meant to be a part of,” Mlambo said.
Dr Samia Chasi, Head of Wits Internationalisation and Strategic Partnerships Office and chair of the judging panel, said the competition is much more than selecting a winner. “It gives students an opportunity to present their own research to audiences beyond their own disciplines and institutions,” Chasi said.
“We have very creative and innovative communities in South Africa and Africa, and we can offer our own solutions to the rest of the world. We can’t always look at importing ideas,” Chasi said.
Among the interesting innovations was the third-place winning project by Cynthia Gwada which focused on an affordable diagnosis for sickle cell disease. The solution aims to expand access to rural areas in South Africa so “they don’t have to go to the cities with money that they don’t have,.” Gwada said.
Picture of Cynthia Gwada, third place winner of the Falling Walls Lab Gauteng 2026, and her certificate. Photo: Kerese Govender
Gwada also hopes to expand the diagnostics to other diseases such as malaria and tuberculosis, making diagnosis more affordable and accessible.
As Mlambo prepares to compete in Berlin, she hopes her success will inspire more young black women to pursue careers in male-dominated fields such as hers.
“Don’t wait for a seat at the table. Go and build a table,” she said.
FEATURED IMAGE: Picture of Falling Walls Lab Gauteng 2026 pamphlet and souvenir. Photo: Kerese Govender
Bafana Bafana and Banyana Banyana represent the same nation, but not the same level of support. The difference says more about us than it does about football.
Rather than pretending South Africans do not support Banyana Banyana, the stronger argument is whether the support is visible. When Bafana Bafana competed at the 2025 Africa Cup of Nations, social media timelines filled with countdowns, match previews, public viewing invitations and nationwide calls to rally behind the national team. The yellow jerseys became symbols of national unity, and every fixture felt like a national event.
Fast forward to Banyana Banyana competing at the 2026 Women’s Africa Cup of Nations, and the atmosphere is noticeably different. The defending African champions took to the continental stage without the same intensity of public mobilisation. The contrast is not simply about football. It reflected a deeper pattern in South African sport: we celebrate women’s achievements, but we do not consistently promote them with the same energy.
If the media, sporting bodies and sponsors devote more promotional resources to men’s football, then the public will inevitably become more familiar with Bafana’s journey than Banyana’s. The disparity becomes a self-fulfilling cycle: greater visibility leads to greater support, which justifies even greater visibility.
The irony is that Banyana Banyana have produced extraordinary results. They won the Women’s Africa Cup of Nations in 2022 and have become one of the continent’s strongest national teams. Yet the same CGE report concludes that despite these achievements, they “have not received the same recognition and rewards as their male counterparts, Bafana Bafana.” Success alone has not earned them equal treatment.
Perhaps the most important conclusion from that study is not the numbers themselves but what they mean. The researcher argues that under-reporting women’s sport limits the public’s knowledge of female athletes’ achievements, while the continued trivialisation or neglect of women’s sport creates the impression that it is less important or less worthy of attention.
Recognition also extends beyond media coverage. The CGE points out that SAFA awarded Banyana R1.2 million after winning WAFCON, while previously spending R9 million on vehicles for provincial administrators. It also notes that Bafana players received larger bonuses for reaching the AFCON quarterfinals than Banyana received for winning their continental title. These examples reinforce the message that women’s achievements are too often valued less, even when the results surpass those of the men’s team.
South Africans like to describe themselves as passionate supporters of whoever wears the national jersey. That ideal should not depend on whether the badge is worn by Bafana or Banyana. If we want genuine equality in football, we must stop expecting women to earn support only after they win trophies, while assuming the men’s team deserves nationwide campaigns simply because they are men.
Equal support begins long before kick-off with equal storytelling, equal promotion and equal belief that every national team is worthy of the country’s full attention.
FEATURED IMAGE: A graphic of Banyana Banyana standing under the spotlight. Graphic: Sanele Sithole
Activists protest to challenge mounting xenophobic violence.
Students and academics at Wits University protest against the escalating violence faced by migrants.
Demonstrators urge law enforcement to treat targeted vigilante attacks as hate crimes.
The picket highlights the need to counter xenophobic hate through conversation and empathy.
A group of activists gathered on Friday outside Wits University’s Jan Smuts entrance, staging a picket against the escalating wave of anti-migrant violence and xenophobic intimidation sweeping through local communities.
Protesters transformed the university entrance into a focal point for advocacy, displaying prominent banners and hand-painted signs condemning anti-migrant violence. One sign targeted the xenophobic rhetoric of Gayton McKenzie, accusing him of fueling an ‘Apart-hate,’ while others declared, ‘Targeting undocumented migrants is a hate crime’ and ‘No one is illegal.’
This demonstration was organised as a joint effort between Community Arts Mobilisation Project (CAMP), BDS Coalition, Kopanang Africa Against Xenophobia, Wits University Palestine Committee (WAPC) and Siyafana Sonke.
As attacks on migrants grow increasingly hostile, demonstrators call on law enforcement agencies to actively prosecute those inciting violence.
One protestor, Professor Marie Huchzermeyer, said the attacks constitute hate crimes. “This includes not only targeting people on the basis of their culture or country of origin, but also their migration status,” she states.
Dean Hutton, artistic director of CAMP, underscored the role of creative movements in driving social change, noting that artistic expression can “appeal to the soft parts of humans that rhetoric does not touch or move to action.”
Huchzermeyer echoes this view, stating “There is a view in Siyafana Sonke that I am drawn to which tries to win over the adversaries, making it a campaign of love rather than confrontation.”
Picture of two activists holding a banner that reads “No one is illegal”. Photo: Jamie Ho.
The picket is one of several planned demonstrations aimed at countering xenophobic narratives across South Africa. However, with tensions continuing to simmer across multiple provinces, activists acknowledge they face sustained pressure as they push back against organised anti-migrant sentiment.
FEATURED IMAGE: Picture of demonstrator holding a sign reading “Targeting undocumented migrants is a hate crime”. Photo: Jamie Ho.
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
In episode six of We Should Be Writing season 7, the team unpacked the evolution of music as a form of expression and protest, through four decades in the South African context. The episode explores the journey of South African music and its consumers from the 80s, 90s, early 2000s and contemporary listeners. From the […]
