The programme has changed the lives of thousands, one transplant at a time.
More awareness for liver disease and organ donation is needed to help provide more liver transplantation services.
Accessibility is needed through support from the government and other private medical institutions.
Over 1 million South Africans have been diagnosed with hepatitis – a viral infection affecting the liver – on an annual basis, which can potentially lead to advanced liver disease requiring transplantation.
According to the Liver Centre South Africa, the causes of liver diseases and illnesses can vary from acute liver failure, viral hepatitis or infections, with liver cirrhosis being the lead cause in sub-Saharan Africa.
The programme, established in 2004, is one of the few transplant units in the country and the broader sub-Saharan African region that provides living donor liver transplants in both adults and children.
Professor Jerome Loveland addressing attendees of 1000th liver transplant milestone celebration. Photo: Amahle Ngqwemla
Liver transplants are therefore important for removing the affected area and transplanting the healthy organ, to provide patients with a better chance at a longer and healthier life.
Of the 1000 who have gotten a second chance, 637 are adults and 363 children.
Professor Jerome Loveland, the academic head of transplantation at Wits, said none of it would be possible without willing patients and families.
“Where would our tale of hope be without our patients…recipients who entrusted their care with us and those donors whether deceased or living, who gave the gift of life by donating,” he said.
However, there are still concerns around accessibility as many patients do not live in Johannesburg where units like the liver transplant programme are available.
Professor Adam Mahomed – specialist gastroenterologist and hepatologist said, “We have to expand it [training in both public and private sector] and not be limited to just where we are.”
Liver and kidney transplant co-ordinator, Sinesha Moodley, told Wits Vuvuzela that working with public academic hospitals like Charlotte Maxeke helps patients who are unable to travel long distances for treatment.
Professor Charles Sanyika, interventional radiologist, said, “If you are in a big city like Johannesburg, you might know of a transplant unit that might be within reach for you. Yet, someone [doctors and patients] in areas like Matatiele or Qunu [Eastern Cape] might not be aware.”
Attendees at the Wits 1000th liver transplant milestone celebration. Photo: Amahle Ngqwemla
The programme has created relationships with other medical societies on campus like the Wits student surgical society where postgraduate medical students can engage with the clinical training programme.
Although the combination of academic medicine, scientific research, education and healthcare partners has been significant in reaching this milestone, Loveland urges young people to “familiarise themselves with organ donation and be open to considering being a donor should it happen to one’s family.”
FEATURED IMAGE: Professor Adam Mahomed delivering his speech at the Wits Transplant Unit milestone celebration. Photo: Amahle Ngqwemla
After years of working toward a Varsity Football final on unfamiliar soil, Wits Women will finally enjoy home-ground advantage.
Wits Women host Varsity Football at home for the first time.
The team is determined to reach the final.
Matches will take place at Wits Football Stadium on August 8 and 9 before the final on August 19.
Wits University will host Varsity Football women’s fixtures for the first time on August 8 and 9, giving the team a home-ground advantage as they look to reach their first Varsity Football final.
The team opens the tournament with two matches in Pretoria on August 1 and 2 before returning to Johannesburg to host the second bumper weekend. The final is scheduled for August 19.
This opportunity comes as Varsity Football introduces a new bumper weekend format, allowing teams to play two matches before a longer recovery period ahead of the final. Hosting rights are also a first for the Wits women’s football team.
“There had been a rotation, and Varsity Sports opened it to numerous institutions that qualified. We raised our hand, and fortunately Wits will host the second bumper weekend,” said Phuthego Mokgethi, Sports Officer for Football.
Aside from reducing travel, Mokgethi believes hosting will give Wits a competitive edge.
Coach Siphesihle Ngalmane agreed: “We’ve always been knocked out in the semi-finals. This year we want to play in the final, and we’re hoping the final will be here at home.”
The fixtures for the 2026 Varsity Football Women’s tournament on display. Photo: Asisipho Mpahleni
Captain Nthabiseng Ramaisa believes playing in front of Wits supporters could make all the difference.
“It’s not easy playing away,” she said. “Having supporters here is exciting because when we’re away, it’s hard for Wits to organise buses for people to come and watch us.”
She added that away matches often come with added pressure from opposition fans.
“When you get there, people start booing you.”
Ramaisa believes the growing support for the women’s team could inspire more young women to get involved in football.
“More girls can get into soccer, and more girls can participate in sport,” she said.
For first-year player Nokubonga Msimango, the chance to play Varsity Football at home still feels surreal.
“There’s like a superpower playing at home,” she said. “You want to make people proud.”
FEATURED IMAGE: Cheerleaders welcoming the Wits women’s football team at the official launch of the 2026 Varsity Football tournament. Photo: Asisipho Mpahleni
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.
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
R520-million partnership between Universities South Africa and Services SETA intended to be a lifeline for the missing middle has been met with administrative silence as Wits University leaves students in the dark.
Wits University received R20 million of a R520 million national bursary allocation.
Both USAf and the university financial aid have declined to clarify how the funds will be distributed.
Eligible self-funded students lack information on how to access the aid despite the high-profile announcement.
A partnership between Universities South Africa (USAf) and Services SETA launched an ambitious R520 million bursary fund on 30 April 2026 aimed at funding 5 200 students up to R100 000 a year for three years, but details of how Wits students can access the institution’s allocated R20 million remain unavailable with university authorities refusing to divulge any information.
The R520 million was distributed equally across 26 public universities in South Africa, with each institution receiving R20 million to support up to 200 beneficiaries.
An infographic illustrating the USAf and Servies SETA partnership. Graphic by: Rearabilwe Tsebela
In a press statement, USAf stated that the bursary fund is open to first-time applicants who are South African citizens enrolled at a public university, with funding capped at R100 000 per year. USAf CEO Dr Phethiwe Matutu, linked the fund to the missing middle gap students whose household income exceeds the R350 000 NSFAS threshold, but who still face financial pressure. However, the missing middle at Wits University are finding that information is strictly private.
“I have a concern that we are singling out specific funding”, stated Amanda Kort, a representative of the Wits financial aid office. “This is an internal administrative process, and I do not believe that we should provide the information nor the interview.”
This wall of silence is mirrored at the national level. Gcina Nhleko, USAf manager for corporate communications and media inquiries, deferred responsibility to the campus. “We do not allocate funds to students as USAf, but universities do,” Nhleko said. “We have been requested to follow the university protocols, please liaise with your financial aid bureau.”
Ntsako Mngomezulu, a bachelor of science student majoring in geology and applied geology, who is a self-funded missing middle student, has not found any information on where to apply for the R100 000 bursary. She noted that while the funding would “unburden her the cap does not adjust to inflation in Johannesburg.”
Lethabo Leputu, a bachelor of arts in film and television student, echoes the information gap. “It is my first time hearing about this,” she said when asked about the bursary. Leputu is partially funded by the National Film and Video Foundation which covers her tuition, but she must still find money for accommodation: placing her squarely in the missing middle. While acknowledging the R100 000 would not cover everything, she sees real value in what it could cover. “I would really appreciate my residence fees being covered. That would alleviate the stress and anxiety that comes with seeing your fee statement,” she said.
The lack of transparency raises questions about accountability, especially as Services SETA acting CEO Sibusio Dhladla noted the organisation is currently under administration due to “governance failures.”
Services SETA had not responded to requests for comment by the time of publication. For now, the R20 million earmarked for Wits remains a ghost in the system, leaving the students it was meant to support without a clear path to access the promised relief.
FEATURED IMAGE: Wits students protest against fee increase in 2016. Gap funding came as a solution from government to help students whose household income is less than R600 000. Photo: Wits Vuvuzela/File
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
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, […]
