The effects of hunger among students need sensitivity and cannot be ignored.
The continued struggle of access to food for students in South Africa is a cause for concern and an urgent matter that needs to be addressed. Government feeding schemes are designed to help alleviate hunger among learners from primary school to high school level. Yet, even with these measures in place the problem of food insecurity persists.
Food insecurity refers to the physical unavailability of food where people are undernourished due to their lack of social or economic access to adequate food. It is worth emphasizing that food insecurity is not only the lack of food, but also a lack of access to nutritious and nourishing food.
Empty refrigerator with few consumable items. Photo: Simphiwe Maduma
Students without food or those who can only afford one meal a day are forced to attend classes on an empty stomach while waiting for lunchtime to receive their meal for the day. This poses serious implications in learning and concentration capacity and ability, therefore affecting students’ academic performance.
There is also the social well-being aspect of this problem for students such as difficulty in socializing. These students feel the need to hide their hunger and need for food to avoid being ostracized by their peers. This also affects their enthusiasm and ability to partake in campus life which forms part of socializing and engaging in new experiences.
The proportion of households in South Africa that experienced moderate to severe food insecurity was estimated at 19,7% in 2023. For students who come from such households, learning can be a nightmare.
FEATURED IMAGE: Small size empty takeaway container. PHOTO: Zanele S. Maduma
Finance Minister, Enoch Godongwana agrees to a court order to suspend his decision to increase VAT and this means economic relief to many
VAT increase suspension leave students with a sense of relief
Increased VAT rate was met with resistance from various political parties
Reversal comes with a R75 billion shortfall for the government revenue
Wits University students expressed relief as Finance Minister, Enoch Godongwana, announced reversal of the 0.5% VAT increase on April 23, 2025 after the DA challenged the legality of the parliamentary process that passed the increase.
The initial proposal to increase the VAT rate by 0.5 percentage points was met with resistance from various political parties, including the Democratic Alliance (DA) and the Economic Freedom Fighters (EFF).
For many South Africans, the suspension has provided much-needed relief, including Wits students. As consumers, particularly from lower-income households, funded by bursaries, the VAT increase would have been a big blow.
Shaunice van Wyk, 3rd year student said: “The VAT increase would have forced me to stop buying the basic products that I am used to buying, so the suspension comes with a relief”.
Another third-year student, Patience Msiza, echoed similar sentiments, “As a student I am already struggling to make ends meet, so the increase of VAT rate was going to make things even worse.”
Although the suspension comes with relief, it will result in a R75 billion shortfall in government revenue, prompting the National Treasury to revisit its budget.
Professor Imraan Valodia, an economist at University of Witwatersrand, who previously written in support of the VAT increase, expressed concerns about the long-term implications.
“We’ll have to see what comes in the revised budget, but I think government will have to cut expenditure, which means we’ve missed the opportunity to address the social and economic infrastructure backlogs, which are important for shifting the economy onto a growth trajectory to address unemployment and growing levels of poverty.”
FEATURED IMAGE: Black wallet Photo: Abena Mahlahlane
Institutions of higher learning collect millions in non-refundable application fees while thousands of hopefuls are rejected.
As South Africa’s university application season gets underway, the issue of application fees rears its head again, as many wonder why some institutions of higher learning continue to profit while access remains deeply unequal.
Every year, thousands of hopeful students submit university applications, dreaming of a better future. For many, higher education is a way out of generational poverty, a shot at stability, or simply the next step in their growth. But beyond the administrative process of applications lies an overlooked yet significant source of revenue for institutions: non-refundable application fees.
Take the University of the Witwatersrand as a case study. According to Wits news, the university received around 85 000 undergraduate applications for the 2025 academic year. Yet, only about 6 000 first-year students could be registered. This means the vast majority of applicants paid the fees and were ultimately not admitted.
The undergraduate application fee at Wits is R100 for South African citizens and a steep R700 for international students. Postgraduate applicants are charged R200 per application. Multiply those numbers across tens of thousands of applicants, and the revenue becomes significant, even before a single student sets foot on campus.
Wits is not the only institution profiting from this model. The University of Pretoria (UP) and Sefako Makgatho University (SMU) each charge R300 – a hefty amount for many South African families.
This issue has also sparked national debate and caught the attention of Parliament, according to IOL. In a media statement, the Portfolio Committee on higher Education said the practice of collecting fees regardless of whether a student is admitted is concerning.
On the other end of the spectrum, the Public Servants Association (PSA) has called for the “abolishment of unjustifiable application fees.” The PSA argued that these fees result in universities making massive profits even when applications are rejected. “One university reportedly received over 600 000 applications, with applicants each paying a R200 application fee. The university made an enormous profit of R150 million to just reject applications,” a PSA statement said.
From the institutions’ viewpoint, the financial strain they face is real. Universities like Wits carry the weight of providing world-class education in an economy where many students can’t afford to pay tuition. Some students register with fee waivers, which is a progressive move, and many owe thousands in unpaid fees. Yet, the university must continue operating – paying staff, maintaining facilities, and ensuring academic quality.
Speaking to IOL, Wits University’s spokesperson, Shirona Patel, said the university employs hundreds of assistants, senior students, and part-time staff to support the application, administration, and orientation processes at the start of the academic year. Additionally, the university highlighted the ongoing costs of maintaining online platforms and associated technology.
Still, one can’t help but ask: If a large institution like the University of Johannesburg (UJ) can process thousands of applications without charging a cent when one is applying online, why can’t those who charge application fees follow suit?
According to UJ news, the university received more than 760 000 applications (study choices) from 400 000 applicants. UJ said in a Facebook post, almost 99% of these applications were made online, meaning they were processed without an application fee.
This raises the question: Is the application fee truly an administrative necessity?
In a country where education is supposed to be a pathway out of poverty, monetising the application process, especially when rejection is more likely than acceptance, begs for critical reflection.
FEATURED IMAGE: A list of South African universities without application fees. Photo: Nthabiseng Baloyi
In a country where government controlled electricity supply is often unreliable, Asiphe Nhleko’s water-powered generator offers a sustainable alternative.
Wits student invents a water-powered generator.
Nhleko is supported by Wits to continue breaking barriers and being a champion for innovation.
The generator could power mines, households and businesses.
Asiphe Nhleko is a second-year Mining Engineering student at Wits University. She came up with Hydrogen, which is a water-powered generator. It is registered under her company, Innovation for a Sustainable Future.
The idea for the generator came to Nhleko when her mother got sick and needed support at home. At the time, electricity was one of their biggest costs.
“What makes our generator unique is that it only requires a small amount of water to start, and once it begins, it continues generating power without stopping,” said Nhleko
Nhleko needed to ensure that the generator could operate for a long period of time, as she stays far from home. When she goes home, she can refill the generator, and the process continues.
Nhleko is unable to share more operational details regarding the project. She is currently in the process of registering for Intellectual Property (IP), ensuring that her work is legally recognised and safeguarded.
While the idea came to Nhleko easily, building the prototype was not in her skill set. So she consulted her friend Musa Molefe, who has no tertiary education background. “He is so talented in terms of his technical skills,” said Nhleko. “I know that whatever that I say he can make it, with his hands,” said Nhleko.
After telling her mentor, Isaiah Chiraira (25), studying a Master’s in Electrical Engineering at Wits, about the project, he encouraged her to proceed. He helped to do the electronics and 3D modelling of the generator and helped in securing funding.
“Everyone at the engineering school has been incredibly supportive. They believe in the idea, some have even helped by conducting research for me. I had the innovation, the concept, but not all the solid research to back it up,” said Asiphe.
Asiphe believes her project has the potential to assist with the energy crisis in South Africa. She mentions that the project is beneficial, as it can power basic household items. Her main goal is to target the mining industry. “It’s millions that are spent per day on electricity in the mine[s], to power machines and just to power the mining plant[s],” Nhleko said.
Asiphe Nhleko is ambitious, with a clear vision for herself and her project. She says, “In the next five years, I see myself as a successful entrepreneur… I believe that us as young minds have all the solutions to the world’s problems.”
FEATURED IMAGE: A profile photo of Asiphe Nhleko: Supplied/Luphumlo Golela
The multi-award-winning artist continues to prove that he has mastered the art of capturing his listeners’ emotions with his sound.
Since debuting in 2018 with his album “USHUN WENKABI”, Big Zulu’s versatility has made him one of the most complete creators in South Africa’s music industry – and his latest offering is one worth listening to.
Big Zulu’s fifth studio album, ICALA LE MPUMELELO dropped on April 11, 2025, featuring several artists including Shwi Mntombazane, Nkosazana Daughter, Zakwe, Siya Ntuli, Zeh McGeba, Zee Nxumalo, Aymos, Maseven, Emtee, Toss, Sir Trill, Xowla and Zakwe – on songs ranging from hip hop to afro pop.
Big Zulu’s music is the kind that one effortlessly falls in love with. After listening to the album only once, I was captured and able to pick the tracks that stand out the most.
Unlike some artists who make music based on trends, Big Zulu invests in making music that has a message, resulting in longevity of his work because what he sings about is relatable.
In the album’s opening track titled “ICALA LE MPUMELELO” the artist tells a story that many in South Africa relate to – raised by a caring grandmother who worked as a maid to provide food on the table, taught him survival skills, then succeeding against all odds.
“MTHULISE”, “MINA NGEDWA” and “MBALI YAMI” demonstrate the artist’s consistent devotion to love songs. Track 2, MTHULISE, stands out as an emotional and sad song. The artist sings about the challenge of being in a relationship with someone who is an orphan because when they cry, you also cry.
Big Zulu takes listeners on an emotional rollercoaster – from sadness to feeling like turning up in a club with friends vibing to “iNkululeko”, a rap track featuring Toss & Sir.
In a song already released in March, “ABAZAZI BAFUNANI” featuring Emtee, Big Zulu appears to have turned their rivalry into a beautiful collaboration.
This is certainly an album worth listening to.
Vuvu Rating 7/10
FEATURED IMAGE: Big Zulu’s album cover. Photo: Big Zulu‘s Instagram
Finally, the dolomite chambers reopen for public exploration after two years.
Sterkfontein Caves reopens after a two-year closure, visitors can now explore the World Heritage Site.
Wits University now fully owns and manages the caves.
Visitors will now be able to interact with researchers and view fossil preparations.
On Tuesday, April 15, the world-renowned Sterkfontein Caves reopened to the public after being closed in December 2022, due to flooding at the entrance of the caves. The UNESCO World Heritage Site located within the Cradle of Humankind now offers visitors the opportunity to have first-hand engagement with artefacts.
Visitors walking in the Sterkfontein Caves. Photo: Bonolo Mokonoto
The Sterkfontein Caves house excavations are responsible for the crucial discoveries that expand our understanding of early hominin fossils. Regarded as one of humanity’s most important paleontological sites, as it has hundreds of fossils that detail the origins of man.
As you walk into the cave, you are greeted with multiple steps to reach its deepest part. The environment is moist as the temperature is 20°C, and water droplets hang on the ceiling as testament. LED lights line the passageway to assist visitors as they venture deeper into the cave. It is eerily quiet, and an echo can be heard when you speak.
After taking over the property in 1966, Wits will now fully manage the site as of April 15, 2025, under the supervision of the Faculty of Science. Professor Job Kibii, Head of Wits Sterkfontein Caves said the Caves were originally co-owned by Wits and the Gauteng Provincial Government, now it is fully owned by Wits.
Professor Dominic Stratford, the leading researcher at the caves said, “Visitors might see people working, whether they are student groups or specialist researchers working in excavations”. This has never been done before and adds into the management’s efforts to make the cave tour experience interactive and educational.
Visitors will be accompanied by a tour guide and tour the caves, reaching the lowest point, the Elephant Chambers. They will have access to the fossil preparation laboratory, where they can engage with researchers and finally enter the museum.
“Part of the role of a university is to be about research, teaching, learning and outreach and interaction in the community… it is important for a university in its role as a public good entity to play its part in the preservation of human heritage,” said Wits’ vice-chancellor, Professor Zeblon Vilakazi.
The new developments make visiting the World Heritage Site a truly transformative and informative experience.
FEATURED IMAGE: From left to right: Professor Zeblon Vilakazi, Professor Job Kibii, Professor Dominic Stratford, Professor Nithaya Chetty, inside the Sterkfontein Caves. Photo: Bonolo Mokonoto
The second block is in full swing, but an estimated 100 Wits students still don’t have a place to sleep.
Libraries, bathrooms and the streets are some of the places homeless Witsies scramble to find shelter in every night
The university lacks sufficient beds to meet demand, especially after a spike in first-year admissions.
Wits is offering food and emergency accommodation support, but sustainable solutions require broader systemic change.
The right to human dignity and adequate housing are enshrined in the South African constitution, but for some 100 homeless Wits University students, they remain a distant reality.
The university only accommodates a fraction of its student population. Of 37,295 registered students, including 25,200 undergraduates and 12,098 postgraduates, Wits has just 5,700 beds available across its 15 on-campus residences spread around Braamfontein.
Many students, especially those from disadvantaged backgrounds or without bursary support, feel abandoned by a system that seems to be failing them.
One affected student, Monkopane Mokgalabong, is a first-year geology student from Tzaneen, Limpopo, who revealed just how dire the situation has become.
“I’ve been sleeping in a security guard’s office near Charlotte Maxeke because I had nowhere else to go,” he told Wits Vuvuzela. “Sleeping outside wasn’t an option. I even had to beg the residence manager for help, but nothing came through.”
Defunded by NSFAS due to academic failure at a previous institution, Monkopane says he was shocked he could even register this year. “My luggage was too much to go back home, and I come from a disadvantaged background. Wits was always my dream university,” he said.
Deputy President of the Wits SRC, Boipelo Setsepu said: “We started engaging with management on this last year. They are aware of the issues, but our demands haven’t been met. We’ll have confidence in management if they finally come to the table and meet us halfway.”
Setsepu confirmed the depth of the housing problem, particularly for returning students and postgraduates. “At the start of the year, there was an oversubscription of first-year students. That alone created a deficit of beds for returning students; we have about 78 spaces left, mostly for male students under 24.”
Wits communication officer, Tiisang Monatisa said: “It is estimated that there may be over 100 students in need of accommodation… More than 450 students have been supported through the Wits Hardship Fund, and we expect to assist about 800 by the end of the year.”
To address the crisis, Wits launched the Transitional Accommodation Programme, backed by a R10 million allocation. “This year alone, 333 beds were acquired. The programme continues to support students as vacancies arise,” Monatisa said.
Wits also cited efforts beyond accommodation, pointing to food relief from Wits citizenship and community outreach as part of its student support infrastructure. “A thousand students receive a hot meal per term day,” he said.
The reality remains that the scale of the problem far outweighs the available resources. For many, the dream of studying at Wits is shadowed by nights spent in libraries, guard rooms, or even on the street.
FEATURED IMAGE: A picture of a student sleeping in the library. Photo: Phenyo Selinda
Paige Harvey, a Wits graduate on a mission to spark change, one crown at a time.
Harvey posing atop the Great Hall steps after her graduation. Photo: Supplied/Rendaldo Verde
Beyond the Miss Soweto crown, Paige Harvey’s quest is for purpose and impact
Beauty, brains and a desire to make a difference
The Miss Soweto winner has eyes set on the Miss SA 2025 crown
In a world where traditional paths are often expected, Paige Harvey stands out as someone who has seamlessly transitioned from the world of diplomacy to the glamour of beauty pageants.
As a Wits University international relations graduate, Miss Soweto 2023, and a contestant for Miss South Africa 2025, Harvey’s journey is more than just a career shift. It’s a testament to her passion, determination, and multifaceted talent.
Paige grew up in Eldorado Park, Soweto, where her love and passion for modelling started. “I have entered Miss SA 2025 to stand as a beacon of hope, pioneering positive change in the mindsets of the youth. As South Africa prepares to host a G20 summit, the world is turning its eyes to us, this is more than a political moment; it is time for us to showcase the strength, resilience, and brilliance of our people,” she said.
From a young age, Harvey was fascinated by how countries interact and how policy shapes lives. “Studying international relations at Wits gave me the academic ground to explore complex topics and sparked a deeper desire to be part of the solution,” said Harvey.
Pageantry became a platform where Harvey could merge beauty with purpose. “I realized that pageants could elevate voices and causes,” she explained.
Harvey doesn’t see her academic and pageant personas as separate entities. “Both require discipline, confidence, and authenticity,” she said. Her academic journey grounds her, while pageantry empowers her to express that foundation publicly.
Harvey has faced her fair share of challenges, from balancing self-doubt and public expectation to navigating scrutiny and criticism. But she’s learned to stay rooted in her purpose and protect her peace. “I remind myself that I’m not just doing this for applause, I’m doing it for impact,” she said.
Paige Harvey taking the Miss Soweto 2023 crown. Photo: Supplied
One of the most impactful moments for Harvey was when she spoke to a group of schoolgirls about self-worth and purpose during Miss Soweto 2023. “One of them later told me that hearing my story gave her courage to apply for university,” she recalls. “That moment reminded me why I do pageantry – it isn’t just about the crown, it’s about connection,” said Harvey.
Her advice to young women pursuing multiple passions is simple: “Don’t let society box you in. You are allowed to do many things – smart, stylish, strategic, soft. Own every facet of your identity and don’t be afraid to show up fully.”
As she looks to the future, Harvey Paige hopes to continue competing on international stages and using her platform to spotlight youth empowerment and African excellence. She envisions a career that merges diplomacy, media and humanitarianism.
FEATURED IMAGE: Paige Harvey’s Miss SA 2025 entry picture, Photo: Supplied/Rendaldo Yarde
TikTok’s Creator Rewards programme has yet to be implemented in African countries, and South African are looking to government for help.
Minister Solly Malatsi advocated for the monetization of TikTok at The Safer Internet Summit held in Cape Town
TikTok needs to improve its monetization features for content creators in South Africa and on the continent
TikTok has committed to further engagements with the Minister
TikTok has faced increasing pressure from its African users for monetization and expand its outreach programmes to African countries. TikTok has 17.6-million users in South Africa (SA), with most of them unable to get monetized through the Creator Rewards programme.
Despite SA having more users, countries such as South Korea and Chile enjoy access to the Creator Reward Programme, enabling their creators to sustain themselves through their content creation
At the Safer Internet Summit, Minister of Communications & Digital Technologies, Solly Malatsi, made a call to action for TikTok to implement monetization tools for all African users. The TikTok-sponsored summit gathered political leaders, digital media consultants, & experts to discuss online safety and policies.
Carmen Ramsay (22), a Political Science graduate from the University of Pretoria, said that she left the app due to feeling demotivated from creating lifestyle content that she wasn’t making enough money from.
“We are all in the same market but it’s actually harder for us…we spend so much more effort, money & time into actually creating content that can compete with international level content creators,” she said.
Siphesihle Ntombela (24), a Bachelor of Education graduate at Wits University, stated that content creators should focus more on creating profitable spaces for their content and audiences. Ntombela is weary of government intervention, stating: “If the government is involved, I think content creators would have to register with government organisations and have contracts.”
Content creator, Brendan Roberts, has been advocating for this programme to be implemented and has been working to ensure that users understand that this would not be the case. The fund would simply make it possible for creators to generate income from videos that go viral and have high engagement numbers.
Postgraduate Diploma in Management in Business Administration student Lesego Makinita (24), popularly known as @lesegothebrand on TikTok, argued that the app helps people make ends meet. People such as teachers use the app to connect with their students & to make extra income. Sharing his wisdom gained as a content creator, Lesego advises upcoming content creators by saying: “authenticity is where it’s at…your perspective is your currency & these brands are looking for that. Plan, put in the time, & be consistent. ”
TikTok has informed the minister that they are committed to further engagements with South Africa. Malatsi enthused that economic justice needs to happen & that TikTok must ensure improved online safety measures and policy protocols.
FEATURED IMAGE: TikTok app logo on the screen and a finger about to touch it. Photo: Adobe Stock
A new musical weekly incentive to get over blue Mondays.
“I love you all and I’ll, see you here next week!” Those were the parting words of Carlo Mombeli, associate professor and the head of Wits University’s Music department. Mombeli’s words were not only an indicator of the intimate feel of the room but also a reflection of his intentions.
Wits Jazz Tuesday’s is a weekly musical showcase put on at theWits theatre lobby by the students and staff of the university’s music department.
Writing this, I felt like a miner who had just discovered gold or a scientist who had just uncovered the inner workings of one of Earth’s many mysteries.
Two audience members performing an item. Photo: Sechaba Molete
The night was ushered in with the cry of the first musician’s trumpet. At that moment, the theatre lobby turned into a terminal with the audience members being passengers eagerly awaiting a journey that transcended space and time.
Words cannot adequately substitute the feeling of physically being present at the feet of a live music ensemble, but in my attempt to use a linguistic medium, I would describe Wits Jazz Tuesdays as a place for community.
The Wits Jazz Tuesday community survives off an ecosystem made of jazz lovers, musicians (instrumentalists and vocalists) and aspiring musicians. Mombeli’s hands-on approach to leading this weekly musical gathering further strengthens its community feel, with him encouraging audience members to showcase any of their musical abilities while he volunteered one of his students to back them up.
The tapping of shoes on the ground, the nodding of heads, the closing of eyes and the occasional yelling of inaudible sounds were all markers of a common understanding and appreciation of the jazz genre.
The programme began with pure jazz and improvisation by specific student bands selected in advance. As the evening progresses and audience members are invited to perform, genres such as indie pop and alternative music become more frequent.
The evening struck the right balance between indulging the tastes of jazz fanatics and virtuosos while catering to the tastes of music lovers in general.
Wits Jazz Tuesday’s was an interactive experience that demanded engagement. Midway through the programme- Mombelli asked everyone to participate in creating the evening’s soundtrack by mumbling in a specific tone. Despite the awkward giggles and concerned comments that followed this request, Mombelli remained committed to democratising jazz and its creation.
This was further reflected in his decision to make the showcase free and invite everyone to join him and his students again next week. It was a fun and heartwarming experience. Its inclusive nature is reassuring and relaxing. The weekly showcase on Tuesday evenings serves as a reward for surviving Mondays!
I would give it a solid 9/10.
FEATURED IMAGE: An image of Wits University’s music students performing a song
Ten years after students demanded change, The Fall is back on stage, bringing the unfinished fight for free, decolonised education back under the spotlight.
The play returns to The Market Theatre, features three original cast members and new talent.
Performances ignite the stage from April 9 to May 4.
A post-performance dialogue raised the uncomfortable question “was it worth it?”, as students continue to face barriers to decolonised and accessible education.
A powerful reimagining of The Fall, an internationally acclaimed protest play, opened at The Market Theatre in Johannesburg on Wednesday, April 9. The award-winning production challenges systemic oppression by spotlighting the voices and experiences of students who, in 2015, took to the streets demanding that the government make good on its promise to open the doors of learning and culture.
The play was originally created by eight University of Cape Town students in the aftermath of the #RhodesMustFall movement and the toppling of the statue of colonialist Cecil John Rhodes. Running until May 4, the new production is being presented by theatre company, The Theatre Duo, and Wits Drama for Life. It reunites three of the original student creators with a fresh cast, reworking the script and staging for a new generation of audiences still grappling with access and transformation at universities.
Opening night’s post-performance dialogue brought these issues to life. Wits University student Mzizi Khulu said, “We’re inheriting the same mentality of our forefathers. We’re still complaining, striking, and protesting. Do we really feel that Fees Must Fall mattered at all?”
Conversely, University of Johannesburg student Mpho Moilwa said, “We’ve been trying, we’ve been striking, we’ve been putting our bodies on the line for this movement, and nothing is changing.”
Students have their say on the impact of the Fees Must Fall movement. Photo: Mbali Khumalo
The Fall’s raw, collaborative format brings authenticity to the stage, blending personal testimony with performance. Sizwesandile Mnisi, original writer and cast member said, “When we first wrote this play, we inserted a lot of ourselves, along with research and archetypes that we saw in the movement. Doing this play ten years later, I too feel a sense of hopelessness that it can still speak so loudly. It’s beautiful that it resonates, but it’s also a problem that it does.”
Audience member Philadelphia Sithole emphasised the importance of theatre in recording our history. “We almost forgot Fees Must Fall. This piece is so powerful because it forces us to question what kind of society we want to have,” she said.
The Fall is a powerful reminder that the fight for access and decolonisation in higher education is still unfinished.
FEATURED IMAGE: Drama for Life Creative Research Hub Director, Hamish Mabala Neill, facilitates the post-performance dialogue. Photo: Mbali Khumalo.
Holding power to account is imperative for functioning democracy
The 19th Taco Kuiper Awards served as a reminder of the vital role investigative journalism plays in holding power to account. The stories uncovered wrongdoing and injustice. The annual awards ceremony hosted by the Wits Centre for Journalism was held at Sakhumzi Zoo lake on Friday, April 11.
News24’s Sikonathi Mantshantsha earned top recognition for his explosive series Waste Land, which revealed the devastating collapse of sewage and sanitation infrastructure in Mogale City Municipality.
Having returned to the newsroom after working for Eskom, Mantshantsha reflected on how much this award means to him. “For me to still get full acceptance back into the newsroom after three years of national service was a great honour, and the fact that nearly a year after coming back, I am awarded like this tops it all, it’s the highlight of my career,” said Mantshantsha.
The runner-up prize went to Dewald Van Rensburg of amaBhungane for his intricate series The Laundry, which investigated an elaborate money-laundering operation involving billions of rands and international networks.
Van Rensburg said, “It is fantastic to have the kind of work we do acknowledged because it is very specialised and it is nice to know that people appreciate it.”
The ceremony also cast a light on the often-unseen burdens borne by journalists and their sources. Bianca Goodson, the Trillian whistleblower who helped expose the dodgy dealings between the Gupta-linked Trillian, Eskom, and Transnet delivered an emotional keynote address.
She spoke about the personal cost of coming forward and extended heartfelt thanks to those who supported her and her daughter throughout the ordeal. “I feel very strongly that if it wasn’t for not just amaBhungane but also other journalists that supported not just my narrative, but everyone else that came together, I don’t think my daughter and I would be here today,” she said.
As the country continues to grapple with corruption, inequality, and systematic failure, the journalists honoured this year demonstrated that there are still those willing to speak truth to power.
FEATURED IMAGE: From left to right: Taco Kuiper Awards convenor, Beauregard Tromp; 2025 winner, Sikonathi Mantshantsha and Taco Kuiper judge, Tom Cloete. Photo: Paul Botes
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, […]
