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
A performance project featuring spoken words, chants, movements and musical art. It is a reimagination of Arther Rimbaud’s poem titled ‘A season in Hell’.
A season in Hillbrow, directed by Sibahle Mangena and Gerard Bester… what were my expectations? In all honestly, the performance far exceeded anything I had anticipated. I had expected an hour of a performance that somehow resembled ‘The greatest showman‘, where performers just burst into song mid-sentence. I had even thought to myself how will such an in-depth, poetic masterpiece be turned into musical play?
Safe to say, calling this performance a musical would be highly undermining its artistry. A group of high school students from the Windybrow Arts Centre took to the floor of the Southwest Engineering building an immaculate form of storytelling. A form that might make one assume is wiser than their years. Simply using school desks, their bodies, their voices, and most importantly their words.
Still of cast dancing during performance. Photo: Kamogelo Lesabe
The performance started with what seemed like a recitation of the beginning of Arther Rimbaud’s poem. As someone who knows this poem well, I quickly realised, that was far from the truth. Each student in the set up classroom delivered these short, punchy one-liners that incorporated words from the poem and mixed them with the real lived experience of Hillbrow. They mingled a clever play on words that spoke to issues of education, poverty, crime, gangsters, safety, hope and love while maintaining the main themes of suffering, alienation, self-destruction, and rebellion taken from the poem.
They carefully tackled these issues from the wide spectrum of the repercussions of apartheid and xenophobia boiling all the way down to the potholes in the street and how a Mageza drives on the road. They mixed all Nguni languages with the Shakespear kind of English which made the performance identifiable to a South African context. They sang amagwijo with all their emotion, they danced on tables, they even used comedy, which only South Africans would understand, to relate to the audience. They represented the theme of rebellion by not conforming to traditional ways of storytelling but rather speaking out against rigidity, limitation, unbelief, and societal standards. Rebellion against real issues faced by South Africans and contextually South Africans who daily experience life in Hillbrow.
Their costumes were an art of rebellion themselves. Wearing torn skirts, untucked school shirts, ties pinned to their shoulders instead of their necks. Similarly to the stage they performed on which was set as a classroom, how they sat, stood and danced on the desks, how they piled desks on top of one another to create what they called “a castle”. That for me screamed a unique and unconventional take to the interpretation of Rimbaud’s work.
Still of “castle” built with tables. Photo: Kamogelo Lesabe
. It was “powerful work of emergence by emerging voices” said Stacy Hardy, one of the creators of this performance. Work of emergence to address current and detrimental issues in the heart of Hillbrow.
The high schoolers truly outdid themselves in relaying the message of reimagining such an enigmatic poem.
Vuvu Rating: 8/10
FEATURE IMAGE: Cast of A season in Hillbrow performance. Photo: Kamogelo Lesabe
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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
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