The Wits Digital Dome is not just a tool for astronomy, but it is a technological hub that bridges different disciplines through immersive education.
Walking into the Digital Dome, you are immersed in lights from the astronomical projection covering the dome’s ceiling. Its cutting-edge technology brings an out-of-world experience which blends research and education seamlessly.
A New Era
The Wits Anglo American Digital Dome was originally known as the Johannesburg Planetarium and has been around since 1960. It was a platform for astronomy that allowed visitors to view stars, planets, and constellations through its then state of the art technology. Some decades later, a much-needed upgrade was needed. Under the leadership of Dr Moutima Aich, the planetarium stepped into the 21st century and stands as the largest digital dome in South Africa and the second largest in Africa.
Wits Anglo American Digital Dome. Photo: Siyanda Mthethwa.
“Most of the planetariums have gone digital around the world. So, we also wanted to do that and not just that. We wanted to expand the space, so we’ve expanded the office space and the event space,” said Aich. She added that the expansion was also for them to “make our own content” and for homegrown stories to be told.
Beyond Astronomy
Although the Digital Dome remains a hub for astronomy education, its new facilities allow for different faculties to use it. One of them includes people from Digital Arts who have been “involved heavily in creating content for the dome,” says Aich. “People who have come here, they’re from medical science background. They also want to do some visualizations on the Dome. And again, they talk to the digital arts for that. So that’s how we are bringing in the different disciplines together,” she said.
The Digital Dome will also enhance student learning and education. It continues to host immersive and entertaining astronomy shows for children. “It’s an animated show, but it is about rockets and propulsion and things like that. So, you still come and learn while you enjoy. So, it does help students in general,” said Dr Aich.
The dome is not limited to children as university students can also use it as a tool for learning, particularly postgraduate students. This includes Honours, Msc or PHD projects on the Dome’s software or data visualization.
What’s Next
The Dome officially opened its doors to the public on 1 February 2025 where it continues to host immersive shows that can bring people together for an unforgettable experience. People can book shows online on Webtickets.
FEATURED IMAGE: Projection of the periodic table in the Digital Dome. Photo: Siyanda Mthethwa.
An exhibition of Esther Mahlangu’s work explores themes of cultural identity and timeless creativity.
The first thing that catches one’s attention walking into the Wits Arts Museum is not just any BMW, but a 525i which has been transformed into a canvas of Ndebele motifs. The geometric patterns adorning the car are a signature of Esther Mahlangu’s work, now on display at this exhibition.
Titled, “Then I Knew I Was Good at Painting: A Retrospective,” the exhibition takes the viewer through Mahlangu’s decades-long career and showcases how she has shaped contemporary art, her tradition and culture.
From well-painted canvases to everyday objects reimagined as art – alcohol bottles, construction helmets, and tea containers – Mahlangu’s signature pattern finds itself in unusual places, serving as an exploration of themes such as cultural identity.
Belvedere vodka bottles are designed with Ndebele patterns. Photo: Siyanda Mthethwa.
Beyond the striking visuals, the exhibition also contains quotes from Mahlangu, who explains different phases of her life. One that stands out is her recollection of how she got into painting – she was initially scolded by her mother and grandmother for drawing on the house.
“After that, I started drawing on the back of the house, and slowly, my drawings got better and better until they finally asked me to come back to the front of the house. Then I knew I was good at painting,” reads Mahlangu’s quote.
Nontobeko Ntombela, the curator of the exhibition, spoke at length about Mahlangu’s work and its influence on contemporary art. “She was able to show the world two key things for me…showing the expansion of visual arts, that arts don’t derive from the West,” said Ntombela.
The primary vision for the exhibition was to “pull people closer to the detail of the art and to the detail of the artist,” Ntombela wanted viewers to understand the contributions made by Mahlangu instead of seeing her in a general way.
Freshpak rooibos containers are designed with Ndebele patterns. Photo: Siyanda Mthethwa.
Among Mahlangu’s most iconic works is the coated BMW 525i, a project which first gained international recognition in 1990, when it was returned to South Africa from the BMW museum in Munich after 30 years.
Mahlangu’s BMW design is significant because despite growing up in a rural area, she was approached by a prestigious company to design the car in a still segregated South Africa.
Ntombela is also working on a book which is an extension of the exhibition. “The book becomes a story that gives us the anecdotes of how she forged her career to be relevant. The book becomes the story of how other people give testimonies about meeting her,” said Ntombela. She continued, “We have experiences in the archive of her going into these different parts of the world painting private homes as well as institutions.”
Ntombela hopes to release the book before the end of the year, while the exhibition will stay in the Wits Arts Museum until April 17, 2025.
FEATURED IMAGE: BMW 525 designed with Ndebele patterns, by Esther Mahlangu. Photo: Siyanda Mthethwa.
As terrifying as your new chapter may seem, it will be a worthwhile ride, filled with many highs and evolution.
Right now, you’re probably feeling a mixture of excitement, nerves, and maybe even a little fear. I get it—I was in your shoes not too long ago. When I started my first year in 2021 at Wits University, it was a strange time.
Coronavirus had turned the world upside down, and instead of walking into lecture halls buzzing with life, I logged into online classes from my bedroom. There was no campus orientation filled with loud cheers and free goodies, just emails and Microsoft teams links. It felt overwhelming, and the voices of my high school teachers echoed in my head: “In university, you’re all alone. No one will chase you or help you.”
For the first few weeks, it really did feel that way. There were no teachers reminding me about deadlines, no school bells signaling when to move to the next class. Just me, my laptop, and a flood of information that I had to figure out on my own. But here is the thing—they were only half right. Yes, university demands independence, but being alone? That part turned out to be a myth.
As soon as the Coronavirus restrictions were lifted, students were able to go onto campus. There are signs almost everywhere for specific buildings but sometimes I would still get lost, luckily campus control staff and other students walking around were more than happy to direct me to where I needed to be.
That is when I discovered the true meaning of community. I have never encountered a mean stranger on campus since my first year through to my final honours year. Friends and fellow students that I had met through the online lectures were eager to form study groups, and tutors were always available to provide guidance and support just as they were during the times we had to attend our classes remotely.
The campus itself was and still is a treasure trove of resources. The Counselling and Careers Development unit (CCDU) at Wits, became my go-to destination for guidance on academic and career choices. The libraries have a vast collection of books, journals and online resources that there was simply no way I would not have more than enough resources to complete any assignment given to me.
Wits University is renowned for its academic excellence, but it’s not all about hitting the books. The university’s campus is a hub of activity, offering students a diverse range of entertainment options.
From retail companies hosting raffles and giveaways, to radio stations scouting for talented students, and local artists performing, there’s always something happening on campus. These events always provided a welcome break from academic stress for me, allowing me to unwind.
One of the highlights of the university’s social calendar is the annul Fun Day held before exams. This day features inflatables, water slides, and other activities designed to help students relax, have fun and recharge.
Wits’ commitment to providing well rounded university experiences through offering students a mix of academic rigor and social activities is exactly how I found balance in all my four years at Wits. Feeling anxious about your first year is normal, but having to figure it out all on your own? That is a myth.
FEATURED IMAGE: Image of our famous motto, “Wits for Good”. Photo by: Katlego Mtshali
You just stepped off the high school train, here’s a guide that will help you choose an accommodation that best suits your needs.
Moving out of home can be stressful as the sudden onset of solo responsibilities begins however, it is less dreadful when you know your residence caters to most of, if not all your needs.
On-campus living
Wits University has campuses in and around Parktown and Braamfontein. Students can choose between on-campus residences or off-campus residences each with unique benefits and drawbacks.
The university offers free shuttle services whether you live off-campus or on-campus that transport students from their different residences in Parktown and Braamfontein.
These services operate between 06:30-00:00, meaning transport costs do not need to be budgeted for.
These accommodations vary on a scale of affordability starting from R67 160-R108 5676 annually, but they are all NSFAS accredited. Single and double rooms with meals included range between R89 326-R108 576 per student annually. These prices depend on whether you take all three meals daily or only one or two meals.
Although the meals are catered for, options for breakfast, lunch and dinner are limited. They are also catered for at specific times of the day therefore it would be ideal to store dry foods or snacks in case you miss the slots.
The upside of living on campus is that you can go to the Matrix to buy food, buy groceries or even access a bank. There are also wellness clinics that can be found on the Braamfontein campus and Wits Education campus. Consultation to see a general practitioner is R20 whereas if you are a Wits student living off-campus consultation is R50.
When there is load-shedding students are still able to study due to the back-up generators. Wi-Fi is accessible throughout the entire university and some libraries are open for 24-hours on both the Parktown and Braamfontein campuses.
On weekends (Saturday and Sunday) Wits busses transport students from the different campuses to Rosebank Mall between 08:00-17:00 for free.
Off-campus residences
A few off-campus accommodations are NSFAS accredited, namely: South Point 56 Jorissen, Apex, and Campus Central. However, with the accommodation cap introduced by NSFAS in 2023 of R50 000 per student, the full rental amount may not be covered.
The rooms at South Point 56 Jorissen range between R4930-R5870. It is a self-catering residence, allowing you to prepare your meals using the kitchen in your cluster. It is also within walking distance of essential shops in Braamfontein like Pick N Pay and Clicks, and only two minutes away from main campus. Study rooms and WiFi are available to tenants.
Apex student accommodation is a one-minute walk to the Braamfontein campus, with room rates between R4780-R7700. Back-up power enables students to cook and use computer labs during outages. Entertainment and wellness events are periodically hosted on-site. However, at Apex students must self-fund electricity top-ups once their monthly allocation is depleted.
Campus Central in Parktown, has rooms priced between R6300-R8200. Their facilities include study rooms, a gym, a laundry, and an outdoor soccer field. It is a self-catering residence with nearby fast-food restaurants. It is opposite the Wits Business School and a short walking distance from Wits Education campus where the Wits buses pick up and drop off students.
There is not a shopping centre near Campus Central that you can walk to, however you can use the Wits shuttle services to travel to Bramfontein where you can find a Food Lovers Market and Pick n Pay for more specific grocery items.
Living on your own straight out of high school is a major life transition, filled with excitement, independence, and new responsibilities. Finding the right accommodation can play a crucial role in ensuring a smooth adjustment to this new chapter. Whether you prioritize affordability, location, or amenities, taking the time to research and weigh your options will help you make the best choice for your lifestyle and budget.
FEATURED IMAGE: A photo of the reception at the Campus Central accommodation in Parktown. Photo by: Katlego Mtshali
From the highs of lifting the Africa Cup of Nations at the FNB stadium to the lows of a false celebration in Nelspruit in 2012 when Pitso Mosimane’s team thought they had qualified for the finals after misreading the rules, South Africa’s football development has experienced mixed fortunes since 1994.
The year is 1996. The FNB Stadium is filled to the brim with a crowd of screaming fans, all different races and genders, but all adorned in South Africa’s bright green and yellow. Banners fly and the stadium shakes with the sheer force of the home crowd. Bafana Bafana have just become the champions of Africa. Football has done the impossible and brought a troubled nation together. The country’s first footballing victory under democracy could be something straight out of a movie.
In the years preceding this victory, the thought of a multiracial crowd cheering for the country’s football team seemed unimaginable; in the years since, the same may still be said. 2024 marks 30 years since South Africa gained freedom from the oppressive apartheid regime. 1994 marked the end of an era of segregation and mistreatment, ushering in what was meant to be an age of reconciliation and unity. The transition to a democratic country meant that all aspects of life were set to change, from education to policy – and even sports. Football did not escape this transition and faced its own fair share of transformation in attempts to truly reflect the ‘new South Africa’.
Football has always been a massive part of South African culture. Like many other sports it is seemingly a perfect way to unite a nation. However, due to the apartheid regime, South Africa has not always experienced the benefits of footballing unity.
The streets of Johannesburg have seen the soles of a million shoes and just as many soccer boots. From Doctor Khumalo to Relebohile Mofokeng, football fields across the city have seen the growth of the sport and its players alike.
A group of boys at an afternoon training session in Sandton, Johannesburg. Photo: Kamogelo Kungwane
Football in South Africa before 1994
In South Africa, football goes by many names: ‘football’, ‘soccer’ and ‘diski’, to name a few. Its many monikers denote the reach of the sport countrywide. Before the onset of democracy in 1994, football was still a widely played sport, but it was structured very differently to how it is now.
The divisions in South African society during this time applied to more than just where to eat or where to shop: they placed black, Coloured, and Indian footballers at the foot of the banquet table, left to eat the crumbs from their white colleagues. They could not play alongside white players, rent out football fields or, sometimes, earn money for playing. This made football political, forcing these groups to fight against this mistreatment by forming the South African Soccer Federation in 1951.
During this time, the violence in South Africa was all-consuming and in 1961 the international community placed a sports boycott on South Africa. This left the country out of international tournaments and forced competition inwards, allowing for the growth of local football. The formation of teams like Kaizer Chiefs, Moroka Swallows and Orlando Pirates was a light in the dark, illuminating the future of football for black South Africans. These clubs forged a new path for the sport to develop in their communities. This culture created the National Soccer League (NSL), which followed non-racial policies and advocated for the sports boycott to continue. These policies ultimately built the South African Football Association (SAFA), which would go on to govern football across the country to this day.
These developments and the end of apartheid led to one of the country’s biggest footballing moments: the 1996 Africa Cup of Nations (Afcon).
Bafana Bafana and AFCON 1996
At the 1996 Afcon final the excitement of the home crowd was palpable; the stadium packed to the rafters with every kind of South African. Race did not matter when the country was at the cusp of such an iconic moment and the diversity in the team drove this point home.
This integrated South African national team was formed in 1992 after a 1-0 victory against Cameroon, a year before the end of the sports boycott. The Afcon victory was a step in the right direction for South African football; a beacon of light for a unified country after a time of struggle. This era showed the country’s ability to dominate in the footballing world – a motivation to players across the country.
One such player was Joel ‘Fire’ Masilela.
Masilela is a legend of South African football, and his national team debut came just two years after the Afcon win. He still thinks highly of his time in the Bafana Bafana squad. “It was an honour and privilege for each and every player when you were called to represent your country,” he says.
Masilela went on to forge an amazing career, playing for top-flight Premier Soccer League (PSL) teams like Mamelodi Sundowns until his retirement in 2004. He has since become a development football coach, honing the skills of young players so they can one day walk the path he illuminated.
‘No DNA, just RSA’
On the football field, South Africa seemed to be taking giant leaps forward and zero steps back: the winning streak was undeniable. When Bafana Bafana was able to participate in international competitions, local teams followed suit and played in international club competitions.
In 1995, Orlando Pirates won the CAF African Champions Cup, which featured clubs from around Africa. Orlando Pirates was the first team from Johannesburg to win this trophy. Its squad embodied the new multicultural approach, including wo white players, Gavin Lane and Mark Fish, a Coloured player called Brandon Silent, and a lineup of black players. At this point, there was ‘no DNA, just RSA’ because the wins kept on coming.
In the wake of Bafana Bafana’s Afcon victory, smaller local football clubs were also beginning to improve and adapt to the multiracial culture that the country was moving towards and, in 1996, the South African PSL was formed.
A sign at the PSL Head Office in Johannesburg. Photo: Kamogelo Kungwane
These strides forward seemingly marked the beginning of a fruitful and exciting time for South African football and local Johannesburg clubs, but the success did not last for too much longer. Since Afcon 1996, South Africa has qualified for only a few international competitions, but has not won any more trophies. Bafana Bafana has failed to make an impact in the World Cup beyond their participation in 1998 and 2002 and their default qualification in 2010 as hosts. A seemingly strong national team was reduced to pieces as a result of lack of development.
Although the country was facing trouble on the international football stage, club football continued to improve. The PSL continued to grow, and its increasing commercial power made it a lucrative field for sponsors, players and media partners.
The economy of football
Money makes the world go round, and that is still true on the football field. The business of football is a profitable endeavour: football teams and leagues can make money from sponsorships, broadcast rights and ticket sales. With the inception of the PSL in 1996, the league received a title sponsorship from Castle Lager. This enabled the league to pay teams, secure venues and cover operational costs to keep the league running. At a team level, clubs make their money from ticket and merchandise sales, as well as sponsorships.
Football is an economy booster because of the other businesses that benefit from its operations. From the women who spend hours cooking meals to sell outside stadiums, to the hotels that sell out during cup finals, football offers a lot of money to the surrounding community. However, it may not always be profitable.
It is no secret that in South Africa football is a predominantly black sport. From the coaches to the players to the supporters, the majority of the industry is carried on the backs of black people. Economically, this may pose a challenge because black people in South Africa tend to be the most impoverished. This is a direct contrast to sports with more support from white people, like rugby or cricket, which can make more money due to their spectators’ class.
PSL chief operating officer Ronnie Schloss says the league is aware its audience may not be as affluent as supporters of other sports and that it prices the games more fairly. “We can’t do what rugby does, because the majority of our spectators can’t afford it,” Schloss says. He emphasises that football is a big part of the black community and the PSL believes that it owes it to them to make the game accessible.
Johannesburg’s role in football
Johannesburg is a big part of South African footballing culture. Of the 43 football stadiums in the country, 13 of them are in the greater Johannesburg area. The city is home to numerous football clubs and has been for decades. Orlando Pirates, Kaizer Chiefs and Moroka Swallows are just a few of the legendary teams that paved the way for the game to flourish in South Africa.
Orlando Pirates was founded in Orlando, Soweto in 1937 and has solidified itself as a core part of the football legacy of Johannesburg and South Africa at large. The club has provided many of its stars to the national team and has been a decisive marker in the development of football in South Africa. Their Soweto rivals, Kaizer Chiefs, have managed a similar feat from before1994 to beyond. This marks Johannesburg as a centre for football in South Africa, with just these two clubs having more than 10 million fans and 130 trophies between them.
Both clubs have invested heavily in developing young footballers by founding their own academies and Pirates even host their own youth football tournament, called the Pirates Cup.
Astroturf football training facilities in Sandton, Johannesburg. Photo: Kamogelo KungwaneA group huddle before the beginning of a training session. Photo: Kamogelo Kungwane
Kaizer Chiefs’ corporate communications officer, Vina Maphosa, explains how the club approaches development. “We develop players to not only be footballers: we encourage them to study and go to school… Football and footballers impact society because people look up to them and they are celebrated in communities,” he says.
This holistic approach to development is meant to create well-rounded players who can add positively to society, while still dominating the football field. In recent years, football development has become a big priority. In 2017, SAFA Gauteng launched the Gauteng Development League (GDL), which currently consists of 18 clubs per age group. The GDL is the top flight for development football in Gauteng, and 12 of the 18 teams are based in Johannesburg, once again highlighting the city’s footballing dominance, even at the development level.
What does football’s future hold?
Football seems to be experiencing growth in both support and performance. According to Eighty20, in the past year, 5 million South Africans have watched a football match in some capacity. This shows the level of support people are giving to the sport, which is important given how integral this is to the economy of the game. These numbers are further bolstered by the PSL’s viewership reaching new heights in the 2023-24 season, with the Premiership being the most-watched sporting event by South Africans, apart from Afcon 2023.
South Africa also experienced a high in their performance in Afcon 2023, placing third after a string of impressive displays. The team showed renewed confidence and a stronger performance than in other recent international competitions. This is likely due to growing financial investments in football and youth development. Many of the players in the squad were from youth development clubs in Johannesburg and the quality of football is set to increase further with more investment in youth development.
The football landscape in Johannesburg and South Africa at large has evolved since 1994 and this looks likely to continue in the coming years. Schloss shares the PSL’s goals for South African football in the future. “We are currently ranked in the top leagues in the world from an administration point of view,” he says. “Our biggest goal is to try and encourage that the standard of play is improved, the standard of officiating is improved, and we can get to a situation where the clubs own their own grounds… because none of them owns their own stadiums.”
These are simple goals, but they reflect an intention to see football continue its upward trajectory and solidify itself as an integral part of South African culture.
Football can be considered the heart and soul of South Africa’s community. It has become a cornerstone for the black community in Johannesburg and the country at large. But recognising black people as the core of South African football places a slight damper on the magic of the moment at the widely celebrated 1996 Afcon victory. Seeing a sea of different races gathered to support a predominantly black sport seems as far-fetched now as it must have back then. Despite this, it is still incredible to note the legacies of Johannesburg’s teams, the growth of football among the public, and the promising future that continues to be built for the beautiful game.
FEATURED IMAGE: A group of young people at their football training session. Photo: Kamogelo Kungwane
Journey through the heartbeat of Johannesburg’s theatre scene, as we trace its transformation from a tool of resistance under apartheid’s harsh censorship to a thriving space for diverse voices and stories in South Africa’s democracy.
The lights dimmed as two figures stood centre stage, gazing over at the crowd. A single spotlight cast long shadows and, for a moment, there was silence. Then, slowly, the haunting notes of Nkosi Sikelel’ iAfrika rose, not from a choir, but from the audience itself. It was a song that once whispered defiance in theatres, now sung freely in places providing a platform for stories of pain and success.
I was a part of that audience, sitting in the intimate space of Soweto Theatre, where the walls felt close and the stage small. We had just finished watching Woza Albert! and the air felt thick with unspoken words. The crowd, usually eager to fill the space with chatter, sat in heavy silence; heads bowed slightly, eyes distant, as if each person were lost in the story they had just witnessed. You could almost feel the weight of history settling over the room, as everyone absorbed the gravity of what had just happened.
When we sang, we sang with heart and, as the final notes of the national anthem faded, Hamilton Dlamini and Thulani Mtsweni quietly left the stage. The audience rose to their feet, their applause filling the theatre in a wave of gratitude. The woman standing next to me quietly wiped away a tear, while my friend cheered at the top of his lungs. It was an electric moment – one that we all knew would stay with us. It was more than just a performance: it was a story that mattered.
These are the kinds of stories that still resonate in the democratic South Africa of today. Yet, although they remain ingrained in the nation’s cultural memory, the word “democracy” is now more often tied to thoughts of politics – elections, government promises, and the ongoing fight for basic human rights like clean water and education.
Among these vital issues, we often forget the profound role art played in winning our freedom. Art, in its many forms, challenged societal norms and empowered black people to take agency over their lives.
Through art, stories of hope and resistance blossomed on stages on which actors dared to challenge apartheid’s brutality, feeding the spirit of a nation yearning for liberation. The names of photographers like Alf Khumalo, David Goldblatt and Sam Nzima often fade from memory, their lenses once capturing the soul of a nation’s struggle, now left in the shadows of history.
Writers like Steve Biko and Es’kia Mphahlele are often lost to time, their words once carrying the weight of a nation’s sorrow and hope, now drifting quietly through the corridors of memory.
Protest plays like Sarafina, once powerful voices against the injustices of apartheid, are now watched on Youth Day by parents and their teens – a fleeting moment of reflection before life carries on, as if the struggles they portray are distant echoes, easily set aside.
Protest theatre is a genre that emerged as a powerful force, distinct in its provocative and participatory nature. It stirred the soul, turning audiences from silent onlookers into fierce participants, igniting in them a fire for change and the will to fight for this.
As plays like Sophiatown unfolded on stage, it echoed to the streets of Soweto which erupted in flames when the young voices of the Soweto Uprising rose in defiance a decade prior. It was a gut-wrenching, yet beautiful moment of art and protest intertwining. As the screams echoed through the streets, voices rose from the stage. Though different in sound, they spoke the same language – delivering the same message. Theatre continues to serve as a mirror to society, reflecting its tensions and truths. But is its impact as powerful now as it was in the fight against apartheid? Does the taste of freedom still hold the same promise for South Africa’s people today? And how has the significance of theatre during apartheid evolved in contemporary times?
Theatre’s significance under apartheid
For Malcolm Purkey, renowned playwright of Randlords and Rotgut (1980), Sophiatown (1988), and Love, Crime and Johannesburg (2000), the significance of theatre as a vehicle for social change has always been undeniable. Sitting quietly among the vacant seats of the Wits Theatre, the founder of the Nunnery Theatre at Wits and its iconic box theatre recalled how his landmark play Sophiatown first found its voice at Junction Avenue Theatre.
The play draws from a poignant reality during apartheid. Based on the unique history of Sophiatown, a township where black people were allowed to own land, the play tells the true story of two Black writers who boldly advertised for a Jewish girl to live with them. This move challenged societal norms and the segregation laws of that time.
The opening scene creates the atmosphere with a soulful adaptation of Kofifi Sophia by the cast, with Mingus, one of the characters, sitting front and centre, his hat pulled low. His voice blends into the rising chorus as he states his claim: “We are staying here in Sophiatown.”
The other character, Jakes, a Drum magazine journalist, rises to speak, painting a picture of the heart of Sophiatown. He calls out its streets, the jazz legends and the political icons that walked on them, recalling the emotional energy and soul of a place both revered and targeted by the apartheid regime. It’s a declaration of identity, a memory of the township’s heart, and a warning of its looming erasure.
It is in moments like this – when theatre becomes a voice for the silence – that its role in history and today’s times is undeniable. When asked about theatre’s place in such crises, a quiet moment lingers before Purkey speaks. “I still believe that theatre has a right and a need to continue working, no matter what the state of the play is. And actually, if there are uprisings or, you know, revolutionary processes, theatre can play a part in that.”
Reflecting on theatre’s role in revolutionary processes brings to mind prominent venues like the Market Theatre. The theatre, originally built in 1913 in Johannesburg’s bustling Indian Fruit Market, took its name from this trading hub. In its transformation, it became known for something greater – internationally recognised as “The Theatre of Struggle”, a symbol of resistance against apartheid. The theatre defied the segregation laws of that time and dared to imagine a different South Africa.
Purkey recalls how the Market Theatre’s audience evolved, becoming a representation of the future the theatre-makers hoped to see – a diverse, non-racial crowd, hungry to see stories that represented their complex world. Who were these people? Where had they come from? What was it about their hunger that pushed them to seek storytelling?
“These people came to have their realities explained back to them,” Purkey remembers. They weren’t just entertained: they were challenged and enlightened by beautifully woven narratives, layered with wit and humour, despite the gravity of those times.
Long after the curtain call, these audience members would linger around in bars, filling the space with the clutter of glasses and the murmur of voices, sometimes slurred with drink, but always lively. It was more than just a bar – it was a forum, where political dreams, frustrations and a vision for a new future were debated into the early hours. Over the clinking of glasses and rising cigarette smoke, those conversations sparked with the same fire that lit the stage, painting futures that had not yet been written.
Although these conversations have long faded, the energy and ideas they birthed continue to ripple through time. The spirited debates and ideas of a new tomorrow may exist as echoes, but the desire for transformation has not been dimmed.
Instead, it has been passed down to a new generation – Gen Z – who find themselves at the start of their own defining moments. With their unique challenges, desires and visions, they stand prepared to rescript the narratives of the past and create new stories for the stage.
Gen Z: Rescripting the stage of change
Today, Generation Z, the digital natives, step into theatres, not to escape their world, but to transform it. In the 30 years since freedom was won, their stories grapple with modern struggles like LGBTQ+ rights, the #FeesMustFall movement, unemployment and the many challenges shaping young lives.
However, this generation, although present in the theatre world, does not make up a large percentage of the audience. In a Mail & Guardian article, titled ‘Theatre can return to grassroots’, several critical issues are highlighted about why theatre today may seem like it’s either facing a crisis or slowly fading away.
According to the article, one of the biggest problems is the lack of early exposure to theatre. Inside these theatres, seats once filled with different faces are now occupied by only a few people, many of them older, affluent individuals. The stories on stage are powerful, relevant – but something feels missing.
The kids from township schools aren’t there. The teachers didn’t bring them, because no school trips were arranged. The reason? Tight budgets and bus fares they can’t afford. Theatre, they believe, is for the elite. And so, the gap widens. Residents who live mere blocks away from the theatre see it as distant, unreachable. The stories might be theirs, but the stage feels foreign, inaccessible, built for others.
This is the growing silence that Gen Z has come accustomed to. Unlike the audience of the 1980s, who, as described by Purkey, needed theatre to reflect the struggles of their external world, today’s generation craves something more intimate. Rather than having the world explained to them, they seek an understanding of themselves.
A recent report in The Guardian found that one in three young people aged 18 to 24 are grappling with mental health challenges like depression and anxiety. As these numbers rise, so do questions of identity, purpose and belonging. This generation, confronted by a digital age that blurs the line between the real and the virtual, increasingly faces identity crises that deepen their desires for stories that speak directly to their internal struggles.
As Gen Z continues to search for stories that resonate with their internal struggles, the future of theatre must evolve to meet their unique needs.
Reimagining theatre: A path forward for a new generation
Lesedi Job (40) an award-winning theatre director, actress and voiceover artist is sitting in the drum room of the 10th floor of the University Corner Building. Job is also known for mentoring emerging artists and her advice to young creatives has always been simple: “Don’t chase the title. Society, especially with the rise of social media, pushes people to seek validation.”
Being in theatre is about doing the work: you will know if it’s truly for you before anyone tells you, Job emphasises. It is this wisdom, rooted in years of experience, that has shaped her approach to storytelling and mentorship alike.
Reflecting on the challenges theatre faces today, Job offered a compelling perspective. Ticket prices do not need to be lowered so theatre can become more accessible to people of all socioeconomic backgrounds; in her eyes, theatre is already affordable.
Job emphasises that reducing prices is not a solution, because at its core, theatre must still operate as a business and account for operational costs. Instead, what truly needs to be changed is how theatre is marketed – how it introduces itself to the public and how it calls to those people who have yet to experience its magic.
As she says this, a memory slips into my head. In the playwriting classes I attended during my undergraduate years, theatre’s lack of adequate advertising was often highlighted. One thinks of moments of driving along highways and seeing billboards dominated by banners promoting the latest Netflix series or adverts for consumer products. In contrast, a new play – particularly one that isn’t an adaptation of an apartheid-era classic or written and directed by a well-known figure – faces a far steeper climb to gain recognition. This highlights how much effort it takes for a fresh production to break through the noise and capture public attention.
Even without the widespread visibility of mainstream media, theatre’s role as a mirror to society remains as essential today as it was during apartheid. Although the world is no longer as deeply in touch with the medium as it once was, I believe theatre still holds the same powerful impact. It is finding its new voice in democracy, just as it decoded South Africa in a time of struggle.
Today, theatre aims to reflect who we are and seeks to explain the complexities of modern life back to ourselves. Although the taste of freedom may have shifted, the core, intention and heart of theatre remains the same.
FEATURED IMAGE: Joburg Theatre’s Instruments. Photo: Ofentse Tladi.
The right to food is enshrined in the South African Constitution, yet millions of people are still food insecure. In Jo’burg, hunger does not manifest evenly– it is a consequence of inequality, the ghost that haunts this metropolis.
Johannesburg has always been a city of extremes. It was never intended to be an equal city and today it still tears at the seams trying to accommodate the two extreme ends of the economic spectrum – and all the people who fall in between.
As a city that contains such a wide array of lifestyles, from the moneyed elite to people just scraping by, our culture reflects a swathe of differences, all with their own traditions, values and tastes. Nowhere is this more evident than in our food.
Perhaps this is why Jo’burg was voted the second-best city in the world for food in May 2024. There is a wealth of restaurants in Jo’burg that display the city’s diversity with their creative and delectable cuisine.
Time Out, which bestowed Jo’burg with this ranking, gave special mention to Braamfontein, ‘the pulse of the city’, for its food. Time Out recognised the ‘innovative ventures combining the forces of food and culture’ in the area.
Indeed, Braam has an abundance of phenomenal places to eat. But the award does not acknowledge that this is not the Braam most people experience.
For most South Africans, food is a tool of survival, not something to be savoured. For 63.5% of South African families, food insecurity is an everyday struggle.
In the four square kilometers of Braamfontein, the city’s vast gap between rich and poor is quite clear in the pervasive food inequality.
How is it that being able to eat is still a major hurdle for people living in the city – even for those living around a prestigious university and in a gentrified urban area?
The many faces of Braamfontein: the suburb as a case study
Braamfontein is a stellar example of the past 30 years of democracy distilled into one place. In the late ’90s, Braam was run down and tired, neglected in the face of all the overwhelming reworking that needed to be done by the new government.
But in 2002, the Johannesburg Development Agency embarked on a multimillion-rand regeneration programme for Braam, recognising its importance to Jo’burg as an economic hub.
Since then, Braam has bloomed: R4-billion of private investment has been poured into the area, and it has become the place to be for many young professionals with cash to burn.
To many Jo’burgers today, Braam is synonymous with trendy bars, beautiful street art and, of course, delicious food.
But Braam is so representative of post-apartheid South Africa because this change, although real, is limited – and only certain people get to bask in its glow.
On the outskirts of this shiny, new Braam, struggling students and residents still live – and still need to eat. What they have access to reflects dire levels of food insecurity and the unequal nature of access to food in South Africa.
The award-winning Salvation Cafe, and the sophisticated Olives & Plates both sit within Braam’s perimeters, small enclaves of cosmopolitan cuisine that in no way align with the average Braam resident’s wallet.
Around the corner and over the way are the everyday food spots that Braam residents actually frequent: fast-food joints, spaza shops and feeding schemes.
These are the many faces of Braamfontein, all painting a picture of the complex and devastating way that food accessibility still stands as a major marker of inequality, starkly segregating South Africans even today.
One of Braam’s most visited food spots – the Mcdonald’s on Jorissen. Photo: Ruby Delahunt.
Where convenience trumps all – your average spaza shop near Wits University. Photo: Ruby Delahunt.
School kids stop for something to eat at one of the spaza shops in Braam. Photo: Ruby Delahunt.
Savouring the city
Remko van Niekerk is the co-owner of Salvation Cafe, which was established in 2006.
Salvation Cafe is nestled in the heart of 44 Stanley, among boutique stores and coffee shops. Van Niekerk calls it “an artisanal destination” – a place where people’s creations, including food creations, are treated like art.
As he sees it, “44 Stanley has mostly remained an oasis in the urban jungle of Jozi”, despite the changes in the area.
The café is a popular brunch spot under the cover of trees, surrounded by hanging pot plants, and complete with an outdoor fountain. Everything about it is meant to attract patrons from Westcliff and other affluent Northern suburbs.
Salvation Cafe sign. Photo: Ruby Delahunt.
A full house at Salvation Cafe, Braamfontein Werf. Photo: Ruby Delahunt.
Elevenses at Salvation Cafe, featuring their iconic salmon eggs benedict. Photo: Ruby Delahunt.
Although Van Niekerk says gentrification has increased in the area, he and his staff have also had to deal with the infrastructure issues that plague Braam, like power and water outages.
To combat such expenses while still maintaining a profit, he says the restaurant’s “prices will just have to keep going up”, particularly given the need to pay for alternative energy sources like generators.
On top of this, Van Niekerk’s boss (and wife), chef Claudia Giannoccaro, “is not keen on using lower quality ingredients, thus prices will have to go up accordingly”.
Indeed, Salvation Cafe meals are nutritious, fresh and tasty, loaded with greens and healthy carbs. Their prices reflect this. Burgers range between R130 and R150, salads between R90 and R138, and most lunches cost about R118 (unless you want the teriyaki salmon, which is Salon Qualitaire).
A five-minute drive away on the quiet end of the University of the Witwatersrand (Wits) West Campus, Olives & Plates Wits Club and Conference is housed in a Transvaal vernacular building, with a gorgeous courtyard surrounded by rose bushes and, yes, a fountain.
It is run by sisters Litza Frangos and Andria Neophytou and their husbands, Apo and Dimitri.
The owners of Olives & Plates, who declined requests for interviews, have grown their business into a successful chain of restaurants after originally beginning as canteen caterers for Wits staff. The business was shut down during the #FeesMustFall protests, after which the owners decided to take the business in a different direction.
Inspired by the owners’ Greek roots, the restaurant focuses on elevating classic meals like toasted sandwiches and salads while adding a Grecian flair. Lunches here cost between R150 and R200. Expensive fillet steaks seem to be a speciality and are regular menu picks.
Lunch time at Olives&Plates on West campus, Wits University. Photo: Ruby Delahunt.
The pristine rose garden at Olives&Plates. Photo: Ruby Delahunt.
The indoor decor at Olives&Plates. Photo: Ruby Delahunt.
Lunch fare at Olives&Plates. Photo: Ruby Delahunt.
But a restaurant that charges R90 for a fruit salad is a bizarre sight on Wits campus, where students have little choice in what they eat and often go hungry.
So, although fresh food is delivered into Braam every day, the fridges of many students in residence sit empty. What this speaks to, and what the statistics reflect, is that food insecurity is clearly not an issue of supply, but an issue of access.
Walking the breadline
If you walk east from Olives & Plates for about 10 minutes, you will reach The Sanctuary, a beautiful white building that is home to the Wits Citizenship and Community Outreach (WCCO) programme. Every week, the WCCO feeds about 1,000 food-insecure students, who must stand in a long queue to receive their daily meal. Three days a week, the WCCO hands out food parcels of basic groceries to students in need.
Karuna Singh, the WCCO manager, says that in five years the organisation went from handing out “20 parcels to 3,000 parcels” every week.
With ever-rising food prices and stagnant grocery budgets, many students need extra help now more than ever. The National Student Financial Aid Scheme (NSFAS) grocery budget has increased only 10% (about R150) over the past four years, whereas food prices increased 50% during the same period.
Need far outweighs what the WCCO can provide, and even what it does offer depends on the tenuous supply of charitable donations. In fact, since 2017, the donations the WCCO has received have been halved as companies slowly pull back.
“The food bank is not sustainable; the hot meals are not sustainable,” Singh says. To mitigate this, the WCCO has set up food commons, growing vegetables around campus that give students food sovereignty and sustainable, fresh options.
One of the WCCO’s many mini veggie patches around campus at Wits. Photo: Ruby Delahunt.
The Wits communal veggie patch on East Campus. Photo: Ruby Delahunt.
The WCCO’s chronically low food stores. Photo: Ruby Delahunt.
The WCCO building. Photo: Ruby Delahunt.
The students at the food bank are not destitute. Mostly, they are young people skating along the line of functional poverty; children of single parents or oldest children having to send some of their NSFAS money home each month.
Rivaldo Jantjies, a fellow journalism student at Wits, survives each month from the money his mom can send him. “I can only buy essentials, you know – noodles, bread, peanut butter, milk, sugar – the basic things I need to survive.”
“When it got to the point [at which] I no longer had those basic things, I would go to [the] WCCO,” he says.
Walking past students on campus, you might not see it, but “a lot of students are struggling”, Jantjies observes. “The lines [at the WCCO] are always long.”
Kea Maphila, an international relations honours student, spoke to the all-too-common experience of students in desperate situations while awaiting NSFAS funding.
“My first year, I only got approved in September”, she tells me. In the interim, she says her mom ‘was paying for my res and giving me allowance… It wasn’t a nice experience.’
Maphila’s situation was manageable, but for many students this would have been catastrophic.
NSFAS provides a stipend for groceries, which is usually about R1,650, but subject to change. “My budget is around R1,000,” Maphila says, which is “enough for groceries, but only for groceries”.
For Maphila, food insecurity is a consuming force, forcing students to prioritise their basic survival. “It’s stressful not knowing when your next meal is, but you’re supposed to be at class at 8am, concentrating,” she says.
Thoughtfully, she tells me: “It seeps into every area of your life… you can’t go on with the rest of your day. It removes so much integrity from a person.”
Integrity is a major part of food insecurity, particularly in a social environment like a campus; inequality among students is often emphasised by the type of food they can afford.
This leads back to basic economic inequality – which, in South Africa, is a racial issue, due to the enduring effects of apartheid.
Food insecurity does not exist in a vacuum and food inequality does not sit squarely within the confines of Braam. It is a countrywide problem – an unsolved one, despite promises and attempts by the government.
Zooming out: the economics of inequality
If someone is shopping on a monthly NSFAS allowance of R1,650, a South African Social Security Agency (SASSA) pension of R1,280, a monthly domestic worker’s salary of R3,349, or receives the national minimum wage of R,4400 a month, groceries in today’s economy are almost unaffordable.
This is for a basket of 28 items. But for a basket of just nine basic items (maize, margarine, peanut butter, bananas, potatoes, IQF chicken, black tea, sugar and long-life milk) the prices are still egregious.
Low-priced items will always be the first choice for poor people when buying food. Grocery stores are aware of this fact, enticing them to make their own brand of cheaper products for mass sale.
Closely related to the food insecurity and inequality conundrum is the persistent issue of nutrition insecurity. Across these four major grocery chains, the same product, due to their varying product value and price, will ultimately hold different nutritional values.
Woolworths margarine has the clear nutritional edge: it is the most energising and fatty margarine, but not too packed with sodium. It costs R32.99, in comparison to R17.99 at Checkers, the least nutritious option.
A research paper from the DSI-NRF Centre of Excellence in Food Security explains the reason behind this unfair price leveraging. The research team found that “the minimalist stance of the government” regarding grocery price setting has granted food companies free reign, with “big retail chains [emerging] as custodians of standards, dictating what should be supplied, how and in what form”.
This leaves South Africans vulnerable to the whim of these profit-seeking companies, which can and will change their prices at any time.
Compounding the threat of artificial scarcity is food scarcity brought about by general government incompetence.
Although South Africa produces enough food to feed its population, making it one of the most food secure countries in Africa, millions of people cannot eat. Dr Tobias Doyer, chief executive of Grain SA, says this is because “food security stands on two legs” – the security of access to food and the ability to obtain food – which the government has not provided for poor citizens.
“South African farmers produce enough food. The problem is that millions of South Africans have become poorer with less ability to buy food – causing famine,” Doyer says.
Groceries cost more and money buys less. In an unregulated food market and struggling economy, it follows that food insecurity is an offshoot of inequality, the most pervasive problem in South Africa today.
Thirty years into our democracy, our leadership has still not transformed the lives of the poor or addressed wealth inequality in any meaningful way. The fact that food insecurity is on the rise in South Africa is not an environmental problem, a social failing or the side effect of a global crisis. It is a major systematic failure.
FEATURED IMAGE: Signpost outside the WCCO building. Photo: Ruby Delahunt.
As factories, wildfires and endless streams of commuters cover the air with smog, Wits students face the consequences of Johannesburg’s incessant air pollution.
With Wits Main Campus in Braamfontein located on the cusp of the Johannesburg CBD and the industrial zones scattered around the city centre, Air Quality Index (AQI) measurements highlight the impact of polluting factors in the area.
FEATURED IMAGE: Infographic highlighting the air quality measurements in the areas surrounding the Johannesburg CBD. Created by: Tristan Monzeglio
The bloc of emerging economies is shaping up to be a force to be reckoned with, and their hope is for the currency to follow suit.
South Africa has had a positive relationship with the Brazil, Russia, India, China, and South Africa (BRICS) bloc since it joined in 2010. With the bloc’s intentions to deepen ties between member states and work together towards economic expansion, it was a match made in heaven.
BRICS member states like Russia and China have faced backlash around their intentions to move against the hegemony of the West, this shared vision a unifying force. The annual BRICS summits have sought to address the issues of Western dominance, and their most recent attempt was by introducing a new currency and including more countries to maximise their efforts.
It has been a year since the 2023 BRICS Summit in Johannesburg, where this initiative was announced, and much has happened since.
New members and new money
In January 2024, the bloc expanded its membership to include five new developing countries. The five new countries include Egypt, Ethiopia, Iran, Saudi Arabia, the United Arab Emirates and Argentina (who later chose to withdraw from the bloc), whose budding economies could prove to be a positive force in the new ‘BRICS+.’
In addition to the expansion, the bloc announced intentions to create a new BRICS currency system that would rival the US Dollar. The inclusion of more states into the bloc would strengthen the impacts of a new currency. As expected, this news caused quite a stir across the globe, and many have been anxious to see what that would mean.
Brazil’s president, Luiz Inacio Lula da Silva proposed this currency during the summit last year. “[It] “increases our payment options and reduces our vulnerabilities.” The BRICS bloc accounts for about 37,3% of the world’s Gross Domestic Profit and 41.3% of the global population. This seemingly gives them the ability to make sizeable contributions and impact change in the world order.
This endeavour is due to both economic and geopolitical factors. One such factor is the tensions between Western countries and BRICS states such as Russia and China which are a big reason for their desire to move away from the Dollar. During the 2023 Summit, Russian President Vladimir Putin expressed that the bloc aims to benefit the “global majority” and that their efforts would be in the best interest of the world at large, economically.
When the news broke, people across the world flooded social media to express their sentiments of both concern and excitement at the idea of a new currency that could give developing economies a chance to thrive in the global market. One TikTok user shared a video stating the value of the new BRICS+ currency against the Canadian and American Dollars, with 1 BRICS+ ‘dollar’ being worth about USD 55 and 75 CND respectively. This was not proven on any factual basis, but it is just one example of the misinformation surrounding the creation of this currency.
How would it work?
Wits University International Relations Professor Rod Alence has clarified what exactly the currency is. “A common misconception is that BRICS is working toward a single currency for member states, like the Euro.”
He explained that this is unfavourable as it would require members like South Africa to abandon their currencies in favour of this unified model. This would allow a new BRICS central bank to replace the South African Reserve Bank (SARB) and put the growth of the South African economy at the bottom of its priorities.
Alence explained: “The BRICS currency that has been proposed would serve solely as a unit for settling international trade and financial transactions.” This could mean a new system to facilitate intra-bloc trade and not necessarily the creation of an international currency.
This initiative would see the countries drop the US Dollar when trading between BRICS+ countries, allowing them to assert their financial independence in the global economy. The possibility of the BRICS countries using their own currencies to conduct trade could result in de-dollarization, a decline in the very high global demand for the US Dollar. Putin stated that the ‘objective’ and ‘irreversible’ process of de-dollarizing the BRICS nations’ economic ties was gaining momentum, a hope that he and his BRICS counterparts hold on to.
According to Alence, the prominence of the US Dollar in global trade is not mandated by any international laws. Still, the currency’s continued stability over time has made it a ‘safe’ trading currency for the world. The introduction of a new way for countries to trade with each other could shift the global economic paradigms in the way BRICS+ nations had hoped for.
Possible stumbling blocks for SA
Joseph Matola, Acting Head of the Economic Diplomacy Programme at the South African Institute of International Affairs (SAIIA) said that the creation of a BRICS currency could create some challenges for South Africa. One such challenge is that the bloc would need to establish “a stable financial market to support the new currency.” This means that a large amount of time and resources would be needed to establish a functioning system for this new currency to flourish.
When asked how likely it seems for the BRICS currency to succeed, Matola said, “[It is] Unlikely in my opinion. If it succeeds, it will take a long time given the complexities cited above. Besides, it is not clear if there is a complete buy-in of the project by all members.” There is also a possible issue with tensions between some BRICS members, like Egypt and Ethiopia or China and India.
As things stand, the BRICS countries will continue to move towards the use of their own currencies for trade but will investigate the viability of creating a common currency in the future. This may be discussed further in the upcoming summit in Russia.
Ultimately, the new BRICS currency system is still a work in progress, and it is likely to be an endeavour that requires much time, resources and preparation. The bloc intends to challenge the global status quo, and this is just one of the steps they are taking to do so. The next BRICS+ Summit will be happening again in Kazan, Russia from October 22 to 24, where the future of the BRICS+ bloc will be discussed, and more may be shared about this new system.
FEATURED IMAGE: An infographic highlighting the different members of the BRICS bloc. Photo: Kamogelo Kungwane
Global Monkeypox (Mpox) outbreak spreads rapidly, prompting public health emergency measures.
Monkeypox, a rare and contagious viral disease-causing fever, headache, muscle aches and a characteristic rash, has sparked global concern as cases surge.
The World Health Organization (WHO) urges enhanced surveillance, vaccination, and public awareness to control the outbreak of Mpox, stating “immediate action is needed to control the spread”, said WHO Director General, Tedros Adhanom Ghebreyesus.
FEATURED IMAGE: Monkeypox virus information graphic created by Sanele Sithetho
A compelling piece that takes the reader into the minds of South African serial killers through narrative psychology.
On Saturday, 17 August 2024, the Wits Origin Centre hosted the launch of a book titled Killer Stories written by psychologist Brin Hodgskiss and Nicole Engelbrecht, which uses the stories of serial killers to explore their psyche.
Hodgskiss interviewed several serial killers to tell their own version of events. He then applied the principles of narrative psychology to help the reader get a glimpse of how the individuals think, using his role as a psychologist to better understand them.
In his conversations with the serial killers, Hodgskiss learnt that the environment played a huge role in the way that these individuals turned out. He also noted that many of them had a misogynist outlook that made it difficult for him to bear and listen to.
While writing, Hodgskiss realized that “the role that was played by the stories I told myself about myself was part of the problem.” He added, “I noticed amongst all the serial murderers I spoke to was the power that their story has.” These stories that serial killers told to themselves about their place in the world “influenced the crimes they committed”.
Hodgskiss was joined by the curator of the Wits Origins Centre Dr Tammy Reynards and Wits academics Beth Amato and Dr Sahba Besharati who formed a panel to discuss crime, trauma, and healing in South Africa.
Speaking to the audience, Hodgskiss explained his journey prior to writing the book, stating that it all started when he was part of a team at Rhodes University that went to Grahamstown to help the police with identifying offenders. This led him to different maximum-security prisons, where he interviewed serial killers.
Nichole Engelbrecht, the host of True Crime South Africa, a victim-focused true crime podcast, invited Hodgskiss a guest on an episode after reading his research on ‘Lessons from serial murder in South Africa’. The two managed to maintain a relationship that resulted in them agreeing to write a book together which was completed in just nine months.
The book comes at a time where South Africa is experiencing a high crime index. According to South African Police Service statistical report for 2023/2024, there were 27, 368 recorded cases of murder, meaning that an average of 75 people were murdered every day in that period. The annual crime stats are due to be released next week, and one can only hope that a less chilling picture awaits.
Nevertheless, this book helps bring to the forefront that the lived experience of serial killers and their understanding of their role in society play a huge role in their destiny.
FEATURED IMAGE: Left to right: Brin Hodgskiss, Sahba Besharati & Beth Amato. Photo: Siyanda Mthethwa.
Once legal representation disputes are settled, the infamous Grindr 7 will receive a trial date.
The Grindr 7 case was remanded again on August 12 to settle disputes regarding the legal representation of three of the accused. This comes after a spate of appearances and postponements to address the same issue since March 2024 in the Johannesburg Magistrate’s Court.
The seven accused, Sanele Ndlovu, 26, Vikani Khanyeza, 28, Sohollo Khumalo, 26, Sphamandla Mavundla, 33, Lungisani Shabalala, 33, Thulani Mazibuko, 23, and Khayelihle Zulu, 24, were arrested in late 2023 for the alleged kidnapping of a Wits University student using the LGBTQI+ dating app, Grindr.
The seven accused as they descend the steps to return to custody until their next date. Photo: Thato Gololo
Further charges were brought against the men for extortion and attempted murder as the state alleges that upon kidnapping the victim, the men held him for ransom of R30 000.
The case had previously been postponed on July 11, 2024, so that the state and the attorney for Ndlovu, Khanyeza and Khumalo could settle internal disputes regarding certain submissions made by the defense to the state.
According to the defense, these submissions were not addressed by the state, therefore the matter cannot proceed, yet the state refutes this, claiming they require written proof that these submissions were made in the first place.
Though these disputes linger, Magistrate Simon Radasi confirmed the trial readiness of all the parties. This means that all evidence has been submitted, and all witnesses have been listed and confirmed. Regardless, Magistrate Radasi irritation was clear. “My role is to sit here and listen to evidence. If this [dispute] is not settled within the next two weeks, I will hold an inquest. If [the inquest determines] the delay is unreasonable, it will go for trial.”
Many members of LGBTQI+ advocacy group, Parents, Families and Friends of South African Queers (PFSAQ) were in attendance, filling almost half of the public seating available.
They expressed the belief that the defense is employing delay tactics to avoid trial. “What we are happy about is that the magistrate is saying, ‘whether representation or no representation, the case will proceed to trial’,” says PFSAQ member Virginia Magwaza.
As bail was refused for all the accused, they will remain in custody and appear on August 29, 2024, to assess whether the dispute has been resolved and the case can proceed to trial.
FEATURED IMAGE: The Grindr 7 being informed of the proceedings by Magistrate Radasi. Photo: Thato Gololo
In episode six of We Should Be Writing season 7, the team unpacked the evolution of music as a form of expression and protest, through four decades in the South African context. The episode explores the journey of South African music and its consumers from the 80s, 90s, early 2000s and contemporary listeners. From the […]
