June 16 marks Youth Day in South Africa, commemorating the 1976 Soweto Uprising. Fifty years ago, thousands of primary and high school pupils marched against the apartheid government’s imposition of Afrikaans as the medium of instruction. What began as a peaceful protest, which was meant to end at Orlando Stadium with a rally, was cut short on the way when police opened fire, killing hundreds of students.
On June 16, 2026, hundreds of people, including university students and members of civil society, gathered in Soweto to retrace the original route and “finish what was started”. The march honoured the courage of the 1976 generation and stands as a reminder that their fight for freedom and justice continues to inspire South Africa’s youth today.
Opening speeches before the march. Photo: Hannah Brown
Youth walking through Soweto. Photo: Hannah Brown
March to “finish what was started”. Photo: Hannah Brown
Youth Day March. Photo: Hannah Brown
Youth Day – commemorating the 1976 Soweto Uprising. Photo: Hannah Brown
‘We are what was dreamed’ poster. Photo: Hannah Brown
In 1976, black students bravely marched against the apartheid government. Photo: Hannah Brown
Marching toward Orlando Stadium. Photo: Hannah Brown
FEATURED IMAGE: Opening speeches before the march on June 16, 2026. Photo: Hannah Brown
Every year the days leading up to Africa Day, street vendors start displaying their best cultural outfits because they know the public want to look good for the occasion. However, in the mix of cultural outfits and good cuisine the real meaning behind the celebration of Africa Day gets lost.
Ubuntu, I am because we are, is a traditional African philosophical concept and the foundation on which the Organisation of African Unity (OAU) was built on. The birth of the OAU, now known as the African Union (AU), on May 25, 1963, is the core reason why we celebrate Africa Day. 32 independent African states came together to fight colonialism and promote unity. This day is meant to strengthen the Pan African spirit, celebrate cultural diversity, reflect on progress and rewrite the narrative of Africa’s story.
Sadly, the meaning behind the celebration of this day has been watered down, and it has become just another day of dressing up, eating delicious food or a surge in sales for street vendors. Ntando Makhubu, a journalist at The Post Newspaper, wrote in his article that he spoke to a street vendor in Pretoria who said “For me, for us, it means a boom in business” which highlights how unaware some members the public are about the true intent of Africa Day.
Africa Day is only recognized as a public holiday in a handful of African Union member states, only six to nine of the 54. Mako Muzenda, a former freelance writer for Daily Maverick, wrote an article saying that the “25th of May is about statements and fanfare, not about making serious moves.” Africa Day has become more performative than educational or impactful, and this is another reason why the public’s awareness regarding Africa Day is low.
There are multiple articles promoting Africa Day celebrations that involve food, cultural dances, and dressing up. However, there are few speaking to the core reason of Africa Day and how Africa has grown or managed to rewrite its own story after colonization.
The lack of awareness shows how easily African history and unity can fade from public consciousness when not diligently taught. As the African Proverb says, “Until the lions have their own historians, the history of the hunt will always glorify the hunter.” This means if Africans do not actively preserve, teach and celebrate their own history and the foundation that it was built on, it will continue to be forgotten or overlooked.
Featured Image:Headshot of Chrislyn Majiedt, this week’s editor.
A true story of murder and the miscarriage of justice.
“Likewise, every good tree bears good fruit, but a bad tree bears bad fruit. A good tree cannot bear bad fruit, and a bad tree cannot bear good fruit. Thus, by their fruit you will recognise them.”
Fruit of a Poisoned Tree by Antony Altbeker is about one of the most sensational legal cases in South African history, the Inge Lotz murder trial. The book explores the murder of a young Stellenbosch master’s student; the prosecution of her boyfriend and the exposure of police fabrication and investigation.
On March 16, 2005, Inge Lotz was found brutally murdered in her apartment around 22:30 by Christo Pretorius after receiving a call from Lotz’s friend. The discovery he made was gruesome and extremely violent: Lotz had multiple stab wounds in her neck, chest, and ribs. She had been beaten with a hammer on her head. Her forehead was crushed inwards, leaving behind the flesh hanging on her face. According to the investigators, there was no sign of forced entry, and all her valuable items, such as her laptop and cell phone, were left untouched. This means her attacker was known to her.
Her boyfriend, Fred van der Vyver, quickly became the prime suspect. Although he had an alibi, the evidence found on the scene proved otherwise. His fingerprints were found on the DVD she had been watching the afternoon of the attack, a bloody shoeprint matched Fred’s Hi-tech shoes, and lastly, the hammer used to crush her skull was found in his car.
The trial became an exposé in which the defence and the prosecution were trying to discredit each other. Fred was charged with her murder but was later acquitted because it had been discovered that there was dishonesty from the prosecution. So, the case went cold, and Inge did not get justice.
A friend of mine, Mmathapelo Agatha Motlhale, recently passed away. She, too, fell victim to GBV at the hands of her step-uncle. I remember how much she would complain about him constantly terrorising her and her mother. To the point of getting a protection order, which did not last long. He violated the protection order rules one day and tried to attack her mother. While protecting her mother, she slipped and fell. While on the floor, he trampled on her leg with enough force that broke her ankle. When she reported the incident, he was arrested but was not held in custody for long. Upon his return, he kept terrorising them until he got her mother arrested.
The description of the brutality of the murder really shocked my nervous system. I just kept wondering what type of rage and hatred a person would have to have in their heart to commit such an atrocity. To make matters worse, these crimes are usually committed by people we love and trust. Strangers are less likely to kill another stranger in the manner these crimes are committed. It is so unsettling how the danger is almost always in the same house or family as these victims.
Since her murder, femicide and gender-based violence (GBV) rates have increased drastically. Unfortunately, these murders are committed by intimate or family members of the victim. Still, the justice system continues to fail women.
Unfortunately, during the court cases and living in hotels in fear of her step-uncle, she got an infection on the broken ankle, which resulted in her death. The step-uncle may not have killed her directly, but he influenced her cause of death. Had justice prevailed and the step-uncle arrested, her leg would not have been broken in a scuffle, she would have never had an infection and died.
This book reveals a profound miscarriage of justice and serves as a chilling indictment of the professional bankruptcy and systemic rot within the South African criminal justice system. Just like Inge and Mmathapelo, many other women were failed by the justice system. Many of them would have been alive if the system were just and fair.
FEATURE IMAGE: Fruit of a Poisoned Tree by Antony Altbeker Photo: Naledi Maraisane
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Age might be nothing but a number, but in South Africa, it can be the thin line between having a job or not.
A struggling economy is forcing educated South Africans into prolonged unemployment.
Petition to end unfair age restrictions in career entry job opportunities.
Young graduate ideal vs older unemployed graduate reality.
A growing online petition calling for an end to age restrictions in jobs, internships and learnerships has revealed the unsettling reality of South Africa’s chronic unemployment. Young adults who are skilled but unemployed say they are being locked out of opportunities because they are considered “too old”.
Many internships and learnerships in both the public and private sectors commonly restrict applicants to those under the age of 35. Such age caps attached to entry-level opportunities unfairly disadvantage the older, unemployed candidates.
The petition has garnered over 10 000 signatures in just five days.
Signatory, Pat Mokoena (34) said being unemployed is “like being trapped in a cycle where employers demand experience while programmes designed to provide that said experience unfortunately exclude the majority of us because of how old we are, that’s why I signed the petition”.
Amid continued economic pressure in South Africa, unemployment remains among the highest globally. Youth unemployment has remained especially severe, and slow economic growth and limited job creation have intensified competition.
According to the conclusions of Hannah MacGinty’s master’s thesis, ‘Graduate unemployment in South Africa’, graduates are no longer entering the workforce immediately after completing their studies, resulting in delayed careers that stretch well into their 30s.
MacGinty warns that even those who secure employment are increasingly finding themselves in short-term or contract-based positions with limited long-term security.
This instability makes age restrictions even more problematic. Workers who lose jobs later in life often struggle to re-enter the labour market once they exceed programme age limits.
The petition and supporters thereof argue that “recruitment should focus on skills, qualifications, experience and willingness to work instead of age discrimination.”
While some employers may defend age caps as part of youth empowerment strategies, South Africa’s unique crisis needs to be considered.
This petition is a symptom of broader economic failures. It reflects the desperation and humiliation rituals that employment seekers have to endure in a constrained environment.
FEATURED IMAGE: Screengrab of the online petition. Photo by: Kamogelo Lesabe
RELATED STORIES:
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Wits is reopening Campus Lodge to ease postgraduate housing pressure, offering more affordable and dedicated accommodation for seniors.
The postgraduate accommodation has undergone much needed renovations.
The relaunch aims to address growing demand for affordable postgraduate accommodation at Wits.
Student leaders say the move is a step forward, but more support for postgraduates is still needed.
A once quiet Wit’s residence is preparing to welcome students again. The brown and blue building on the corner of De Korte and Station streets, may look the same from the outside but new rooms and common areas await inside.
Campus Housing and Residence Life (CHRL) confirmed that the postgraduate residence had been out of use and was in dire need of upgrades.
According to a post shared on CHRL’s TikTok page, the residence was initially expected to reopen on May 4, 2026, but couldn’t due to delays with equipment deliveries.
Claudine Prim the manager of the Central Accommodation Office, said the reopening is now expected on 18 May to address demand.
Prim said there is an “influx of postgraduate students looking for internal residences.”
The self-catering residence will offer a range of housing options, including studio apartments, two-bedroom apartments, and single rooms with shared kitchens and bathrooms.
Campus Lodge joins existing postgraduate residences including West Campus Village, International House and Wits Junction.
A picture of the entrance of Campus Lodge. Photo by: Sanele Sithole
For many students, the reopening could not come at a better time.
Mahloromela Silas Seabi, an MSc Computer Science student and chairperson of the Postgraduate Association (PGA), said postgraduate students often face limited and expensive housing options.
“University residences tend to be expensive, especially for postgraduate students, who are usually limited to Wits Junction, West Campus Village and International House,” Seabi said. “This gives an opportunity for more affordable postgraduate accommodation.”
He added that postgraduate students are often disadvantaged during residence allocation, as priority is usually given to undergraduate students, particularly first-years.
Seabi said demand for affordable postgraduate accommodation continues to grow alongside rising unemployment and economic uncertainty.
“Many students pursue postgraduate studies partly because of economic pressures, but often there isn’t enough affordable space to accommodate them,” he said.
Beyond affordability, Seabi argued postgraduate students require different support structures from undergraduates.
“A postgraduate space needs to cater for adults,” he said. “Some students are married; some have children. There needs to be communal spaces, lounges, good computing systems and support services that make students feel supported in their research journey.”
He added: “Accommodation is part of building a stronger postgraduate community — a space where students can interact, share ideas, support each other and manage the pressures of research.”
Students interested in applying for accommodation at Campus Lodge can visit the Central Accommodation Office on the ground floor of Solomon Mahlangu House for more information.
FEATURE: A picture of Campus Lodge. Photo by: Sanele Sithole
Former Auditor-General Terence Nombembe takes the chair at Wits Council, bringing a legacy of accountability to the university’s top governing structure.
Terence Nombembe, a key figure in South Africa’s fight against state capture, was appointed Chairperson of the Wits Council on 6 May 2026.
Nombembe has been a member of the Council since 2021, providing him with years of insight into the university’s complex financial and policy landscape.
SRC Deputy President Sibusiso Ngele expressed hope that Nombembe’s history with student leadership will lead to a positive future for the university.
The University of the Witwatersrand (Wits) has officially appointed former Auditor-General and Zondo Commission investigator Terence Nombembe as the Chairperson of the Wits Council. The move, announced on 6 May 2026, brings a world-renowned expert in accountability to the university’s highest governing body.
A legacy of oversight
Nombembe is no stranger to high-stakes governance. Before his election to the Chair this month, he served as a member of the Wits Council for five years, starting in 2021. His professional pedigree is rooted in transparency; he served as South Africa’s Auditor-General from 2006 to 2013 and later as the Head of Investigations for the Zondo Commission into State Capture.
Beyond his public office, Nombembe has held influential roles as the CEO of the South African Institute of Chartered Accountants (SAICA) and served on the board of the WWF South Africa. His career has been defined by a zero-tolerance approach to financial mismanagement, a background that Sibusiso Ngele, Deputy President of the Wits SRC, considers a vital asset.
“He is very familiar with Wits’ proceedings and the Council in general,” Ngele said. “That background is very important for the institution’s future.”
While the appointment of an “integrity expert” carries significant weight, Ngele was careful to define the boundaries of the Council’s power. He noted that while the Council approves major policy, financial rules, and documentation, the day-to-day management of the university remains the responsibility of the Vice-Chancellor.
Ngele noted that Nombembe’s role is primarily one of oversight rather than executive action, emphasising that the entire Council structure, not just the Chair, is responsible for implementing the university’s approvals. “As much as he is [the] Chair, it’s not very executive decisions that he has [to make]; it’s the whole structure that’s responsible for that implementation,” Ngele explained.
Addressing sensitive issues
When asked if Nombembe’s history of holding institutions accountable would change how management interacts with student leadership on sensitive topics, such as campus infrastructure, Ngele admitted the answer is not simple.
“It would be very difficult to answer that question,” Ngele stated. However, he remained hopeful that Nombembe’s track record would lead to a more collaborative environment. “Given his history with the SRC, I think we can really hope for a great future ahead for Wits,” Ngele concluded.
Waiting for the full picture
At the time of publication, other top members of the SRC executive, including President Gilbert Nchabeleng and Treasurer General Sonwabo Mhlahlo, had not yet commented regarding their specific expectations for Nombembe’s term.
As Nombembe settles into the chair, the student body will be watching to see how his high-level expertise in accountability translates into the tangible student experience on the ground.
FEATURED IMAGE: Picture of the Great Hall at the University of Witwatersrand. Photo: Daniella Ripamonti
Wits University reclaims African narratives through the South African premiere of Kancícà at the Digital Dome, proving 8K innovation is a powerful tool for cultural memory and heritage.
The Wits Anglo American Digital Dome is pivoting from its traditional scientific roots to become a hub for African mythology and storytelling.
Kancícà utilises high-end gaming engines and 360-degree 8K animation, positioning Wits at the global forefront of immersive digital production.
The project serves as a “portal” for students to explore the future of work, AI, and African leadership within the global digital ecosystem.
The interior of the Anglo American Digital Dome. Photo: Supplied
While the Johannesburg Planetarium officially completed its R90-million transformation into the Wits Anglo American Digital Dome in November 2024, a recent premiere suggests the facility is entering a new era of cultural significance.
On 8 May, the Dome hosted the South African premiere of Kancícà, an immersive experience that moves beyond traditional astronomy to signal a turning point for how the continent tells its own stories. The launch positions Wits as a leading hub for cutting-edge digital experiences rather than a mere consumer of Western technology.
Dr Moumita Aich, instrumental in the Dome’s research integration, notes that 8K full-dome technology allows for a “shared emotional experience,” emphasising that this technology creates new forms of public engagement while preserving heritage.
“The scale and detail make African histories and traditions feel alive and immediate,” says Aich. “In this way, the Dome becomes more than a scientific space: it becomes a place for cultural memory and reimagining African narratives through immersive storytelling.”
Festival director Alby Michaels explains that Kancícà focuses on creating work “by Africans, for Africans, and especially through an African lens”. The production uniquely utilised Unreal Engine, a high-end gaming engine, to render 2D and 3D animation for the full-dome experience. “It opens up the doors for more experimentation… so that we can become the leaders in our own narratives,” Michaels says.
For Wits students, Michaels sees the Dome as a laboratory for the “future of work”. “I’m hoping an engagement like this will open a little door, even a portal, for imagining the future in a better way for all of us,” he told Wits Vuvuzela.
Audience members from outside of Wits, Constant Volschenk and Bongiwe Ndulula, highlight the immersive nature of the dome, which relies on a 35-degree viewing angle in reclining seats. “The main scenes are in front of you, and the surrounding is the background of the scene,” says Volschenk. Ndulula was particularly moved by a spiritual scene involving a boat in a storm, noting that the 360-degree view offers a vital shift in perspective.
Following its premiere, the programme is now open to the public at the Wits Anglo American Digital Dome from 25 April to August 2026. As Aich suggests, if you have not yet watched this wonderful show, it is a necessary gateway into the future of African digital heritage.
FEATURED IMAGE: Exterior picture of the Anglo American Digital Dome. Photo: Daniella Ripamonti
The Melville Art Mile reactivates the creative heritage of the suburb.
Once a month, the Melville Art Mile creates a walkable art experience in the heart of student life in Johannesburg, Melville.
Artists, are given the opportunity to exhibit their work in a way that is accessible to all.
Melville is reclaiming its spot as Johannesburg’s creativity hub.
Ask anyone who has been a university student in Johannesburg; they have been to or at least heard of Melville. From the cute cafes to the busy bars to the grand graffiti adorning almost every crevice of the area, Melville creates a vibrant, friendly atmosphere that differs from its neighbouring suburbs.
The suburb has begun to center itself as Johannesburg’s creativity hub. Student culture has shifted the legacy of the environment from a quiet, calm Afrikaaner area to the lively, artsy dynamic it has become.
One event captures the soul of the suburb, the Melville Art Mile, a monthly event along the Melville Strip.
Canvases spill out onto the streets, loud laughter can be heard all around, and handmade trinkets are on display. This is the scene that greeted me when I visited on Thursday, May 7. The event invites people to enjoy a night of art, music, and community by providing an accessible way to curate and consume art, a welcome detour, especially for students.
Artwork by Indoni on exhibit at Melville Art Mile. Photo by: Kerese Govender
The Melville Art Mile offers opportunities for young emerging artists to display their work. This provides them with the push they might need to fulfil their dreams. A singular compliment on their brushstrokes from a stranger or even a few new followers on Instagram, is sometimes all it takes to get one foot out the door.
Many artists credited Melville in their artistic journeys as this environment is one of the only places that one can paint without anyone disturbing them, in reference to graffiti art. “Melville has always been known as an artist sanctuary.” Aubrey Moloto, the founder of Melville Art Mile, told this reporter.
Thalia Ngcobo, a young artist with work on display at the event, shared, “This is a great opportunity especially for those who are starting out, because starting out is scary. Doing this is the first step in your career.”
The Melville Art Mile is considered an “open market for artists because there’s nowhere in Johannesburg where you are able to sell your artworks to a public audience and receive all the comission,” Moloto explained while discussing the benefits of exhibiting at this event. “All you need to do is fill out an online form that can be found via the organisation’s social media pages and wait to be selected. Melville artists and businesses are prioritised as “this is for them, by them,” he further commented.
Artist Alex Dibakwane and his artwork, Ancestral Disputes, on exhibit at Melville Art Mile. Photo by: Kerese Govender
Moloto shared that the initiative of the organisation is to remind the city as well as everyone around it that Melville, at its core, is a creative space. Another goal is to boost the economy of the area.
Every turn that you take, every street you walk down, and every exhibit you enter, shows you exactly what Melville is becoming – a space for creatives to exist without (too much) worry.
The neighbourhood is more than just its dangerous reputation. Moloto hopes to “shake that narrative” through the First Thursday monthly Melville Art Mile events. The organisation’s driving force is to regenerate Melville’s creative roots and bring back life to the local businesses by boosting the economy and providing work for everyone in the neighbourhood, from students to residents to artists.
“Melville is a great example of what Johannesburg should be,” explained Neil Badenhorst, a frequent attendee at Melville Art Mile.
According to event attendees, art has a pretentious culture attached to it. In theory, art is meant to be something accessible and interactive, a source of community. However, in practice, it has become a very clinical experience. The welcoming and vivid feel has been disrupted by an elitist and alienating crowd.
Yet, this is not the case in Melville. In Melville, art is for everyone.
It belongs to those who cannot afford a ticket to an art gallery. It belongs to those who can sketch in their sleep. It belongs to those who do not understand the difference between acrylic, watercolour, or gouache. It belongs to those who can mould a block of clay into a masterpiece.
FEATURED IMAGE: Attendee looking at artwork on display at the Melville Art Mile. Photo by: Kerese Govender.
University of the Witwatersrand (Wits) Women’s Rugby showed early-season resilience and unity despite a 27-0 opening defeat to Zondi Women’s Rugby club on Saturday.
Wits Women’s Rugby opened their 2026 league season with a 27-0 defeat to Zondi Women’s Rugby Club at Wits Rugby Stadium.
Despite the loss, Wits showed resilience, strong defensive organisation, and growing team unity throughout the match.
The match reflected the continued growth of the Wits Women’s Rugby programme since its establishment in 2019.
The Wits Women’s Rugby team opened their league season at Wits Rugby Stadium on Saturday May 9, 2026, producing a spirited performance against a physically dominant Zondi side in a match that tested both their structure and resolve.
From kick-off at 13:20, Wits showed intensity at the breakdown, organised defensive sets, and confidence in possession despite sustained early pressure from the visitors. Zondi controlled the territory for much of the first half, scoring their first try midway through after winning a turnover inside Wits’ 22. Wits responded with improved defensive organisation and stronger carries, matching Zondi’s physicality in several exchanges. Zondi added another try just before half-time to take a 10-0 lead into the break, but the Wits team continued to contest every phase with discipline and commitment.
Their strongest moments came in defense, where disciplined communication and collective organisation reflected the side’s growing cohesion. Even during difficult phases of play, players responded to the coach’s instructions, quickly regrouping after errors and maintaining their defensive structure under pressure.
Pinned deep in their own half on several occasions, Wits absorbed repeated phases of pressure through committed tackling and strong on-field communication. The forward pack showed determination in the scrums, while ball carriers consistently worked hard to gain metres in contact despite Zondi’s physical dominance.
Wits Women’s Rugby forwards contest possession during a scrum against Zondi in their opening league fixture at Wits Rugby Stadium on Saturday. Photo: Alice Dhlamini
The second half brought renewed energy from the home side. Substitutions lifted the tempo, defensive organisation improved, and Wits showed greater confidence in building play. A yellow card during a crucial stage shifted momentum further in Zondi’s favour, but Wits still maintained their intensity and rate throughout.
Even as the scoreline widened, the home side continued fighting until the final whistle, earning respect from supporters and coaches alike for their commitment.
Captain Nikitha Dlabane, a final-year biomedical sciences student, said the performance reflected the growing unity developing within a relatively inexperienced Wits side, explaining that despite the pressure of the occasion, the players “stayed together as a team” and continuously encouraged one another throughout the match. She added that the side drew confidence from strong scrummaging, effective carries, and organised defensive folding, although she acknowledged that there is still room for improvement as the squad continues to develop.
“This game was tough because a lot of our girls are very new,” she said, “but we stayed together as a team. We encouraged each other all the way, and I feel like that is what makes the team.”
Dlabane also highlighted the technical aspects that gave Wits confidence during the match.
Head coach Winsdon Grootboom praised his side’s “never-say-dying attitude” despite the defeat, highlighting the determination shown by a squad that included “six or seven women” making their first rugby appearance. Although he admitted that “pressure creates mistakes” at crucial stages of the match, Grootboom said he was encouraged by the way the players “fought until the end” and continued trying to execute the structures and patterns they had worked on in training.
The Wits Women’s Rugby team warm up ahead of their season opener against Zondi Women’s Rugby Club at Wits Rugby Stadium on May 9, 2026. Photo: Alice Dhlamini
Wits player Mamokgopane Tsotetsi, a second-year industrial engineering student, said preparation played an important role in helping the team remain composed ahead of the fixture, with the squad focusing on “scrums, structures, lineouts, and all the basics” during training. She added that constant communication and encouragement on the field helped the side maintain its intensity during difficult passages of play.
Beyond the result, the fixture reflected the growing visibility of women’s rugby at Wits, with supporters highlighting the significance of women’s presence in a traditionally male-dominated sport. Second-year Bachelor of Arts student in South African Sign Language and political studies, Tshimangadzo Sigoba, described it as “refreshing seeing women taking up space in rugby,” while supporter One Segano noted that women’s rugby is gaining greater exposure and media attention on campus.
The crowd responded loudly throughout the afternoon, particularly after Zondi’s opening try, as tension built with Wits searching for opportunities to break through defensively. A Wits injury late in the match added further intensity to an already physical encounter, while the home side’s number one forward stood out with powerful ball carries and strong work around contact areas.
While the scoreboard may not have favoured Wits, the match stood as a testament to the team’s rapid progress and the rising profile of women’s rugby at the university since its establishment in 2019. As the season unfolds, the Wits Women’s Rugby team looks set to continue inspiring players and supporters alike with their unwavering determination.
A graphic highlighting Wits Women’s Rugby’s season opener against Zondi Women’s Rugby Club reflects the team’s resilience, unity, and determination despite a challenging start to the season. Graphic: Emmanuel Molebatsi
FEATURED IMAGE: Wits Women’s Rugby players chase down a Zondi ball carrier during their league opener at Wits Rugby Stadium on May 9, 2026. Despite a 27-0 defeat, Wits showed defensive resilience and growing cohesion throughout the match. Photo: Alice Dhlamini
A unique Mother’s Day storytelling event at Melville Koppies used African folklore to reconnect adults with childhood, motherhood, and tradition.
A Mother’s Day storytelling at Melville Koppies, Sunday 10 May.
It was a unique Mother’s Day experience where mothers could embrace their inner child.
Grace compared the process of the smelters to what motherhood is and showed us how it relates to mothers and what they go through.
As the birds chirped and the cold morning wind rushed through the branches at the Melville Koppies Nature Reserve, attendees made their way up the hill towards the lecture hut; they were in for an exciting time ahead. “A lot of people here come to me and say, ‘I haven’t had a story being told to me in 50/60 years and it just lit up my life’. And all the adults came to me after today’s storytelling and said, ‘I was a child again, thank you so much,” said Merle Grace, the voluntary storyteller at Melville Koppies Nature Reserve.
Grace had prepared two stories: an anti-colonial African parable titled “Fly Eagle Fly,” retold by Christopher Gregorowski, and ‘Kasanko’s Dream’ by Gcina Mhlophe about ironmaking. chosen specifically for Mother’s Day. “I wanted a story about something female and strong, that is not on the knows, and I found the story ‘Kasanko’s Dream’” said Grace. “I thought it was the perfect Mother’s Day story, because the process of ironmaking and fertility were seen as very similar in those days,” she said.
Merle Grace telling the story ‘Kasanko’s Dream’ on Mother’s Day. Photo: Chrislyn Majiedt
Grace, upon conducting research, found out that smelters, like the one they have on the Melville Koppie, were used for ironmaking. The process was seen as a holy and sacred process of making something out of what seems like nothing. The furnace was often symbolically linked to a woman’s womb, as both were believed to produce life and strength through hidden processes.
Iron was formed inside the furnace where no one could see the transformation taking place until the final product emerged, in the same way that a baby develops unseen inside a mother’s womb. To Grace’s understanding, the ritual around fertility and smelting were very similar for the iron Age farmers and miners 500 years ago.
Smelters were used to extract iron from iron-bearing rocks by heating the ore in a furnace with burning charcoal. Early African settlers such as the Sotho and Tswana built clay furnaces, often symbolic of a womb and the birthing process of iron. The settlers would refine and shape the metal into specific tools and weapons.
“What’s very special about sitting here is while she is telling a story the birds just start singing, there is always a bird doing something so you really feel like you are in a different place,” says Jenny Grice, acting chairperson and head guide and primary event coordinator for the Melville Koppies Management Committee. The combination of nature and storytelling made the audience forget that they were in the city, and everyone just embraced the moment.
Grace kept the audience on their toes – quite literally – by having them stretch and jump between the stories, to allow for one story to sink in and to prepare for the next one. Everyone gladly joined her and laughed in between stretches. She captivated the audience, whose eyes locked on her as she spoke.
Through storytelling, connecting with nature and embracing their inner child, the audience experienced a truly different kind of Mother’s Day –one that felt deeply meaningful and extra special.
“This was the most interesting Mother’s Day,” said one of the women in attendance when the storytelling was complete. The attendees were eager to speak to Grace after, most of them thanking her for the wonderful experience and the opportunity to embrace their inner child.
Feature Image: Merle Grace a voluntary storyteller at Melville Koppies Nature Reserve pointing at the trees. Photo: Chrislyn Majiedt
As the cold begins to settle and the due dates creep closer, the Wits Hindu Students Society creates a home away from home by hosting a Thunee tournament on campus.
The Wits HSS recently held its annual Thunee tournament.
Prizes were up for grabs ranging from R200 to R1000.
The aim of the tournament was to preserve the culture of the game and create a community for its players.
With money to be won and a game you love to play, what could be more exciting? On Friday, May 8, the Wits HSS hosted its annual Thunee tournament at the Margo Steele building.
Up for grabs – R1000 for first place, R400 for second place, and R200 for third place. These prizes are a culmination of the money raised by entry fee tickets, which cost R100 per team.
The game dates back to the 1860s, when Indian indentured labourers arrived to work on the sugar cane fields in what was then known as Natal. A game that helped them find connection and preserve culture amid their enslavement in a strange land.
Even though the game has evolved since, all you need is three of your best friends or complete strangers and a special pack of 28 Playing Cards.
“To continue hosting these tournaments will play a very big part in keeping Thunee alive at Wits, because naturally certain things skip generations, and we’re trying to prevent that.” explained Aadit Aheer, the former chairperson of Wits HSS.
The tournament was not just limited to Wits students but also open to members of the community. There were three teams made up of self-named ‘uncles.’
Five hours. Two calm initial rounds. A captivating quarterfinal. A chilling semi-final. A crazily competitive final.
While the game is about tricking opponents and reaching a total of 105 first, it is also about communication—how well you and your partner know each other, what a slight eyebrow raise, or nostril flare could mean.
As the tournament shifted from a fun night with friends to an intense evening of eye contact, smack talk and cards hitting the table, only four teams remained.
It was Uncles 3 versus Call & Loss, and Uncles 2 versus EN-SYNC.
The entire crowd peaking over their shoulders as they played for the top prize.
The night ended with Uncles 3 winning first place, Call & Loss taking second place and Uncles 2 coming in third.
The winners of first and third place graciously donated their prizes to the Wits HSS Temple and a first year they had played against, respectively.
Directions to Thunee tournament. Photo by: Kerese Govender
A hand of cards held by a player. Photo by: Kerese Govender
Names of teams playing in the tournament and a pack of cards. Photo by: Kerese Govender
Second place winners of the Thunee tournament, Savani Govender and Ashen Naidoo. Photo by: Kerese Govender
Deck of special cards for Thunee tournament. Photo by: Kerese Govender
Winners of Thunee tournament, Colonel Lionel Chetty and Kevin Peramaul, with the chairperson of the Wits HSS, Ushdir Singh. Photo by: Kerese Govender
“We would like to give this money back to charity,” said Colonel Lionel Chetty, member of Uncles 3. “For us, it is not just a game. It brings people together.” he further commented.
Thunee is more than just a game. It is the beginning of friendships. All it takes is one look at the table to your left, a quick question, “You know how to jol thunee?” and the rest is history. It serves as a semblance of home for those who leave everything and everyone, they know, to attend Wits. Whether it is at your grandparents’ dining room table or at the Matrix, the game lives on.
FEATURED IMAGE: Directions to Thunee Tournament. Photo by: Kerese Govender
Today, apartheid-era spatial planning and car-centric design continues to shape commuting in Johannesburg, as cycling reemerges as an affordable and sustainable way to move around.
Johannesburg, South Africa’s most populous city, has a long and complex history with bicycles. Today, commuting is a daily struggle shaped by Apartheid, inequality, and inadequate infrastructure – factors which make cycling a difficult option for many.
A 2025 News24 report, citing the World Bank, revealed that “low-income commuters spend more than 50% of their earnings to get to work.” The bicycle is a tool for affordability, sustainability and freedom. However, in a city designed for cars, we need to reimagine urban space, to make it safer for pedestrians and cyclists while integrating public transport.
In the early 1900s, Johannesburg was celebrated as a cycling city. In an article published in the Guardian, Njogu Morgan, a postdoctoral research fellow at Wits University, quoted a 1903 newspaper stating that “nearly every third inhabitant rides a bicycle.” For white residents, cycling was fashionable and modern. However, for black residents, bicycles were often a necessity, but their freedom to ride was restricted and policed.
By the 1930s, rising incomes from the gold economy led to many white residents buying cars, and motoring became a symbol of wealth. Under apartheid, spatial segregation forcedblack workers into distant townships, far from job opportunities. Cycling became associated with black-working class commuters and was stigmatised as a ‘poor man’s mode of transport’.
Since, unsafe roads, long distances and investments in highways pushed bicycles aside completely. By the mid-1990s cycling had almost disappeared from the streets.
Modern Johannesburg was designed around cars instead of people. Urban Planner Phano Liphoto documented his morning journey on TikTok, his story sparked hundreds of responses from people who faced similar situations of waking at 4am and returning home after dark.
Commuter cycling is re-emerging as a cheaper and more environmentally friendly alternative, and it’s becoming increasingly popular among students, including myself. I’m fortunate to live relatively close to Wits University, making cycling a practical option. Many people told me it would be impossible to commute by bike in Johannesburg, warning that, especially as a white woman, it would be far too dangerous. Yet, I have found the city is absolutely cyclable, though it is far from being well supported.
With very few dedicated cycles lanes, and those that do exist are often blocked by taxis and cars. Bike lanes that had been introduced in the 2010s were criticised as “luxuries for the rich”, even though evidence showed lower-income workers were the main cyclists. Many cycle lanes are just painted on the ground, and according to a 13-year-old study “painted bike lanes without physical barriers are often more dangerous than nothing at all.”
On my route to campus, a cycle lane suddenly appears along a busy road, only to disappear in the middle of traffic. But, with some planning and the use of back streets, cycling is manageable and a great option. There are also groups, such as Banditz Bicycle Club and Girls on Bikes, that are advocating for more people to take up commuter cycling, offering affordable bikes and helping to map safer routes. Groups like Young Urbanists have proposed low-cost upgrades and protection, including in their “Stage 01 of Reclaiming Our Cycling Lanes ”briefing for Cape Town.
Transport experts argue that a cycling infrastructure cannot succeed on its own. Stigma also remains a concern. As Morgan explores in the book Anxious Joburg there is a complex relationship between identify and transport and “identities are constructed through transport behaviour.”
As Director of Wits University’s Centre for Diversity Studies, Professor Nicky Falkof, stated in an interview on YouTube, “There also needs to be a significant shift where people stop thinking bicycles are a lower-class form of transport.” This highlights the link between transport and identity and explains why bike lanes often go unused. They were built without broader cultural and systemic support.
Reclaiming the bicycle is not just about transport, it is about ending spatial violence and redesigning cities to prioritise people. While South Africa faces challenges from its past, there is an opportunity to build a more inclusive and connected urban space.
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, […]
