The season holds a special place in many hearts, marked by traditions that have been passed down through generations. The rhythm of life slows down, offering families a chance to connect, share stories and create new memories. 

At a full Festival Mall in Kempton Park, Thandi Mbatha, a mother of three, is doing the final Christmas shopping for her little children. 

“I have worked hard all year, lay-buying clothes for my babies, so they can look good throughout the festive season. I am now going to pay the last instalments and add a few more items,” she says.

“We will be going home to KwaZulu-Natal for the festive season for them to meet my family for the first time. They have never been because I could not afford to take a taxi home with them. 

“I now have a better job and this will probably be the best Christmas I have ever had in years.”

For many African families, Christmas is synonymous with homecoming. After months spent in cities chasing dreams and opportunities, many return to the warmth of their rural homes. 

The joy of seeing loved ones again — parents, siblings, childhood friends — is a gift that no material possession can replace. 

New clothes symbolise the season’s spirit of renewal. For children, nothing compares with the excitement of donning freshly bought outfits, often kept carefully hidden by parents until Christmas morning. 

These garments carry more than style; they represent hope and gratitude, a way to mark the culmination of the year’s efforts. 

Equally significant are the meals that are prepared only once a year. Dishes like roasts, mogodu, pap and braai, or sweet treats like ginger beer and koeksisters, transform ordinary dining tables into feasts. 

For a brief time, families forget the struggles of the year, united in laughter and the comforting aroma of home-cooked food. 

But Christmas is not joyous for everyone. For some, it is a sombre reminder of the year’s unfulfilled aspirations. 

Many leave their homes for the city, hoping to secure a better future. Yet, the harsh realities of urban life — low-paying jobs, high cost of living, and unforeseen challenges — mean there is little to show for a year of toil. 

For Ntuthuko Kumalo* who lives in Madelakufa in Tembisa, Christmas is a painful reminder of what is lacking. 

“I have been spending Christmas in my shack for over 10 years. I can’t go back home. I have nothing to give my siblings or my children. 

“I will just hustle some money, buy a few bottles of beer, hustle a meal and go to sleep — as I have been for many years,” he says. 

Returning home empty-handed is daunting. The cultural expectation to bring gifts or financial support for the family weighs heavily on those who feel they have fallen short. 

In some cases, this burden fosters a deep sense of shame and embarrassment, leading people to stay in the city during the festive season. 

This decision is not made lightly. It often means spending Christmas in isolation, far from family and removed from the warmth and traditions that make the season special. 

The silence of a city emptied by holiday travel can amplify loneliness, leaving many to grapple with feelings of failure. 

Christmas in Africa is thus a season of dualities. For some, it is a time to celebrate the fruits of their labour. For others, it is a reminder of the challenges they face. Yet, even in the hardest of circumstances, the season holds opportunities for introspection and renewal. 

Communities play a vital role in bridging this gap. Churches, for instance, often extend the spirit of giving to those who cannot afford traditional celebrations. 

Soup kitchens, donation drives  and communal gatherings ensure that no one is entirely left out. 

These initiatives highlight the power of collective care, reminding us that the essence of Christmas lies, not in material gifts, but in the spirit of sharing and compassion. 

As urban migration continues to shape the dynamics of African families, perhaps it is time to rethink how we celebrate Christmas. 

Can we create traditions that embrace simplicity, reducing the pressure to present outward symbols of success? 

What if the focus shifted from what we bring home to how we connect with those we love?

Some families are already making this shift. Instead of expecting expensive gifts, they prioritise storytelling, where elders pass down wisdom and recount tales from their youth. 

Others organise group activities such as soccer matches or cooking competitions, emphasising experiences over possessions. 

For those unable to return home, technology has become a lifeline. Video calls and online group chats provide a way to stay connected, when physical contact is impossible. 

These small but meaningful acts help bridge the emotional distance that urban migration often creates. 

Ultimately, the beauty of an African Christmas lies in its ability to bring people together, even across great divides. 

Whether through laughter around a fire or a heartfelt phone call to a loved one, the season reminds us of the importance of community, love  and resilience. 

For those who find Christmas challenging, it is essential to remember that success is not always measured in material terms. The courage to face another year, the ability to hope against the odds  and the love shared with family and friends are achievements in their own right. 

As we celebrate this festive season, let us hold space for both the joy and the struggles that come with it. 

Let us create moments that honour the diversity of our experiences, embracing the true meaning of Christmas — a time to give, to forgive and to cherish the bonds that make us human. 

This year, whether you’re in the city or at home, with loved ones or alone, may the spirit of Christmas find you. 

And may it remind us all that, no matter the circumstances, there is always something to be grateful for.

* Not his real name.

The Journey to Jazz (J2J) festival is back for its third edition, transforming the charming town of Prince Albert into a jazz lover’s paradise from 1 to 4 May.  

The festival promises sonic exploration, storytelling and cultural discovery, with highlights including performances by Hilton Schilder, Kujenga, Ernie Smith, Siya Makuzeni, Paolo Damiani Last Land Band and the  Outeniqua High School Jazz Band. Early bird tickets, starting at R250 per performance, are available on Quicket for a limited time. 

J2J also offers guided mountain walks, artist-led master classes and exhibitions. Hosted by the Prince Albert Community Trust, the festival supports sustainable development, empowering local youth while showcasing the unique allure of the Great Karoo. 

Podcast tracks the history of South African music

Take a behind-the-scenes journey into South Africa’s vibrant music history with From the Hip with Benjy Mudie. This podcast, hosted by industry veteran Mudie, dives into nearly five decades of South African music. Featuring interviews with artists like Sipho Mabuse and Mango Groove, it offers an unfiltered, often irreverent, view of the concerts, culture and politics that shaped the scene. The latest episode, which has just been released, features Shifty Records’ fascinating story, where Lloyd Ross and the Kalahari Surfers’ Warrick Sony recall the 1980s Voëlvry Tour and battles against the apartheid-era establishment. With 20 episodes to date, and a special 40th Anniversary Concert in the Park edition on the way, From the Hip is a must-listen. Stream it now on all major platforms

Zineb Sqalli, managing director and partner at Boston Consulting Group, said this when she addressed a panel, titled Can Gender Bonds and Innovative Mobile Products Unlock a $2.5 Trillion Opportunity?, at the recent Africa Financial Summit, held in Casablanca, Morocco, on 9 and 10 December, 

Despite their potential, women-led businesses receive six times less funding than those led by men, limiting their ability to scale, create jobs, and drive GDP growth. 

This imbalance represents a missed economic opportunity worth an estimated $625 billion for the continent. Addressing it could unlock transformative progress. 

One potential solution lies in gender bonds — financial instruments that direct capital to projects and businesses that empower women.  

The Mail & Guardian spoke to Sqalli about the potential of these tools to reshape the financial landscape for women in Africa. 

How do gender bonds contribute to achieving gender equality in the African context?
Gender bonds are innovative financial instruments that mobilise capital specifically for projects empowering women. Africa has the highest share of women entrepreneurs in the world — 45% in sub-Saharan Africa, for example. And women-led businesses receive six times less funding than men. In this context, these bonds directly address systemic financial inequities. Gender bonds provide tailored financing for women-led initiatives, empowering them to scale businesses, create jobs, and reinvest in communities. This represents a massive opportunity for the continent, estimated at $625 billion GDP, if we are able to bridge the funding gap.

How are funds raised through gender bonds effectively reaching and benefiting women-led enterprises?

Funds from gender bonds are often directed towards projects that directly benefit women, such as affordable loans for women-led small and medium enterprises or initiatives such as social housing. For example:

• Banco Davivienda (Colombia): $100 million raised, disbursed as 12,000 loans to women-led businesses and 84,000 housing loans for low-income women.

• Asian Development Bank (Indonesia): $120 million gender bond targeting women-led farms and micro-enterprises, reaching 20,000 beneficiaries.

• African Development Bank (AfDB): Gender bond funds are integrated into AFAWA initiatives, supporting thousands of SMEs through guarantees and affordable loans.

These examples show that gender bonds ensure capital flows to impactful initiatives while promoting transparency in deployment.

Are there particular sectors where gender bonds have shown the most promise in empowering women economically?

Promising sectors include agriculture, where women constitute over half the workforce in many African countries and can benefit from productivity-boosting investments. Informal retail and renewable energy also show strong potential, as women dominate these spaces yet lack scalable financing. Tech and digital innovation are emerging areas of growth, with women leveraging mobile platforms and e-commerce for entrepreneurship, a trend accelerated by targeted financing.

What role does private sector investment play in the success of gender bonds in Africa?

The private sector is key to scaling gender bonds by issuing them and integrating gender-specific initiatives into broader corporate strategies. Private investors also bring innovation, credibility, and scalability to the market. Their participation enhances confidence for institutional and global ESG (environmental, social and governance) investors. For example, banks and corporates can use gender bonds to attract sustainable funding while designing accessible financial products for women entrepreneurs.

What makes the African market uniquely positioned for gender-focused financial instruments like these bonds?

Africa’s entrepreneurial dynamism, combined with its growing fintech and mobile money ecosystem, creates a unique environment for gender bonds. Fintech platforms facilitate data collection on women borrowers, demonstrating their reliability and creditworthiness. This data can be used to structure gender bonds that target underserved populations. For example, mobile money systems provide financial histories for women entrepreneurs, enabling them to access gender-bond-funded credit programmes.

Why are there only five gender bonds in Africa, and what are the hindrances to issuing more?

Limited issuance stems from several barriers. 

• Lack of data: Insufficient evidence of gender bond profitability discourages investment.

• Regulatory gaps: Many countries lack frameworks for structuring and regulating these instruments.

• Capacity constraints: Financial institutions often lack technical expertise to issue and manage gender bonds.

Addressing these barriers requires initiatives like AfDB’s AFAWA (Affirmative Finance Action for Women in Africa) to de-risk bonds and global efforts to improve gender-focused data availability.

What are some solutions to improve data collection and build trust between lenders and female business owners?

Data initiatives: Programmes like CIDE by We-Fi collect gender-disaggregated data to showcase the effect of investments and build lender confidence.

Transparency mechanisms: Publishing data on repayment rates and outcomes helps lenders see women entrepreneurs as reliable borrowers.

Public-private partnerships: Collaborations can develop data-sharing platforms that aggregate financial and operational data.

Although digital platforms like mobile money systems create alternative credit profiles for women, these mechanisms are not directly linked to gender bonds but can complement them by identifying eligible women-led businesses for bond-supported initiatives.

After years of creating animated short films that struggled to find an audience, the 28-year-old Qwabe sought a sustainable way to fund his creativity, leading to the birth of Kind Kid. 

Representation is a cornerstone of his work, though he resists using it as a marketing tool. 

“If I was making toys of white kids, no one would ask why I’m doing it,” he points out.

The name Kind Kid stems from a desire for self-improvement: “I wanted to be a kinder person.” 

This sentiment resonates through his art, which he describes as a manifestation of kindness and nostalgia. 

With a background in information design at the University of Pretoria School of the Arts, Qwabe says he channels his “creativity and technical skills in crafting toys that are not merely playthings but vessels of memory, emotion and storytelling”.

For Qwabe, Kind Kid is more than just a toy brand — it is a manifestation of a lifetime of experiences, emotions and aspirations. 

“This is something I wanted to be really proud of — to leave a legacy,” he says. 

His journey began as a filmmaker creating animated shorts inspired by his life and culture. His films were often inspired by shows like The Proud Family, which depicted the everyday lives of black people without leaning into stereotypes of struggle. 

However, financial challenges forced him to search for a different creative outlet. 

“I needed to find a way for the creativity to sort of fund itself, which led me to the toys,” Qwabe explains. 

Toys that invite people to reconnect with their inner child. He realised that the characters he brought to life in animation could also exist as physical pieces of art. 

With toys, he found a way to make his work accessible and relatable, 

enabling people to bring a piece of his creativity into their homes. 

At the heart of Kind Kid lies nostalgia. Qwabe draws heavily on his own childhood and the those around him. 

One of his earliest toys was inspired by a childhood memory of his sister perched on his shoulders, draped in their father’s oversized sweater. 

“The pieces I make take you back to that younger self,” he says. “I think it’s cool to know that the little girl or boy is still somewhere in your heart.” 

Each toy is designed to evoke these emotions, from its colours to its form, using a meticulous process that begins with a feeling and ends with a hand-painted masterpiece. 

Qwabe is deliberate about the values Kind Kid represents. The brand reflects his personal ethos, which includes a commitment to authenticity and integrity. He has turned down lucrative collaborations with alcohol and vape brands to protect the image and message of his creations.

Inspired by a letter Sobukwe wrote to his wife Veronica Zondeni Sobukwe, the play captures the emotional depth and human vulnerability behind his revolutionary ideals.

For Monageng “Vice” Motshabi, who wrote the play, the letter transformed Sobukwe from a near-mythical figure of resistance into a man who loved deeply and endured unimaginable suffering.

The title, Lala Ngenxeba — isi­Xhosa for “lie on the wound” — indicates the play’s dual exploration of pain and resilience.

And as Motshabi tells the Mail & Guardian, this portrayal rejects mythologising struggle heroes, instead presenting Sobukwe as an ordinary man who faced extraordinary challenges.

Lesego Chepape: What inspired you to focus on Robert Sobukwe’s personal life, particularly his relationship with Veronica Sobukwe?

Monageng Motshabi: The inspiration came primarily from how moved I was by Thandolwethu Sipuye’s sharing of one of Mangaliso Sobukwe’s letters to his wife during a panel discussion in honour of Sobukwe, organised by the City of Joburg earlier this year.

I noticed how, while the rest of the conversation stimulated my mind and appealed to parts of me that grapple with Sobukwe as a god-like figure because of his intellect, Sipuye’s reading of the letter presented a man who was in love with his wife and grateful for her courage and loyalty in the midst of the apartheid state’s onslaught on them.

This went straight to my heart and I thought it would be worthwhile to create an experience that goes primarily to the heart and then engages the intellect.

It seemed like the door I needed to walk through to understand what the impact of the price Tat’u Sobukwe paid was on him and Mam’ Zondeni. I wanted to lift the veil of stoicism and god-like resistance to pain and stare at the wound.

Can you elaborate on the significance of the title Lala Ngenxeba/Of Love and Revolution?

It is drawn from an isiXhosa saying that encourages those confronted with pain to lie on the wound, both as a way of facing and embracing the pain and also as a way of learning not to cry foul too much about the occurrence of tragic events — since they are guests in every house and an unavoidable part of being human.

It is essentially about accepting one’s lot and recognising that all who live experience pain in one way or another.

The play attempts to zoom in on this wound as it relates to Tat’u Mangaliso and explores the effect the wound he kept unseen may have had on him and how in a way it is also what ate his body from within. This apartheid-induced wound. 

The love and revolution aspect speaks to the question of love as it relates to Tat’u Mangaliso’s love for black people and the price he ultimately paid for it. 

It is also a useful frame for exploring the relationship with Mama Zondeni since a deep love was the anchor of this relationship.

There is no attempt at a rosy, “mcwah-mcwah” Valentine’s Day kind of “I love you” performance of connection between people, but an exploration of love as a willingness to serve, suffer and sacrifice on behalf of the one(s) one loves.

What role do Sobukwe’s prison letters play in shaping the narrative structure of the play?

The letters are one among many sources that the play draws from, so they aren’t central to how the play’s structure works. 

There are excerpts of letters that appear during a certain period of Sobukwe’s life and then there are letters whose content has been dramatised or from which sentences have been pulled to inform dialogue. 

It is also important to note here that the play as written may not be the play as staged, even though what is expressed here should generally be easy to locate in the performance.

Why do you think it is essential to portray figures like Sobukwe as ordinary people with everyday struggles and joys?

Well, one because they are/were human. So it’s a lie to claim otherwise. 

But, two, because Sobukwe never pretended he was anything but human. He never took his intellectual clarity and sharpness for superiority and was never deluded by people’s willingness to follow him and honour his vision.

He insisted on exuding love, warmth and humanness in the face of apartheid hell in ways that are not easy to understand and it makes sense why many consider him god-like. Maybe he was god-like. But even then, he was a god-like human being. 

The danger of presenting struggle heroes without a human side is that one ends up with an image of a very special and superhuman being that has no real value in helping us engage the world as human beings now. 

It keeps up looking up at these deities we create in ways that are not only false but also in ways that allow us to be duped into thinking those who spout rhetoric, supposedly inspired by the deities, have our best interests at heart.

Studying limitations has more value than singing praises. Especially at a time when so-called struggle heroes, who haven’t liberated anyone, not even themselves, walk around with inflated egos because there are far too many sycophants hoping to get a seat at the table by being champion praise singers.

What insights about Sobukwe’s legacy do you hope audiences will take away from this play?

That without a willingness to lose privilege and the soft “let’s eat, chief” life, we all become collaborators in a system designed to chain us.

That there is still a call to serve, suffer and sacrifice and that with a goal, commitment and a love as clear as Sobukwe’s, who knows what we might achieve. 

But, of course, the play will do what it does and mean what it means to different people.

If Sobukwe were watching this play, which scene do you think would make him laugh — or cringe?

I think the scene that touches on the psychological impact of solitary confinement on Robben Island might be one to arouse his interest. 

This is when Sobukwe was convinced there were secret torture devices used against him in both Robben Island and Kimberley.

I can’t say I know how he would react to it but I suspect it’s an area that might hold unpleasant memories and might speak to the cost of freedom on his person and his family more than others.

In exploring Sobukwe’s letters, did you ever feel like you were eavesdropping on a private conversation?

Reading the letters definitely felt like eavesdropping. It’s intriguing how Sobukwe managed to retain the honesty and emotional clarity even as he was aware the state was reading the letters and screening them.

It is the personal, and often intimate, quality of the letters that pushed me to keep searching for a way to dramatise some of the events and to try and find a way to echo the intimacy, even of the solitude.

There is never a guarantee what is on the page will be matched in the staging. But the goal, as inspired by the letters, was to create a feeling of, at times, eavesdropping while at times being deliberately pulled into the intimate world by characters who address the audience directly, sometimes in between private exchanges. 

If you could add a modern soundtrack to Sobukwe’s life, what would be the top three songs and would they make it into the play?

Victor Ntoni’s Thetha would be one Mangaliso would slow-dance to with his wife. I suspect he would weep when he listens to Thandiswa Mazwai’s Nizalwa Ngobani? and I think he would totally jam to Iphupho Lika Biko’s Abaphezulu.

What’s one line in the play you think audiences will want to quote endlessly?

The one line that stayed with me, that I hope the audience ponders beyond the performance, is a line by Sobukwe himself in a speech in Cape Town (according to Philip Kgasana): “Abelungu abasithandayo, basingena ngenxeba njengempethu” (Our white liberal friends enter through the wound like a worm).

It stays with me especially because of how the liberals then proceeded to enter through his wound when he starts paying the price for his actions against the state. I think it’s a line worth pondering because of where black people find themselves now. 

Lala Ngenxeba/Of Love and Revolution runs until 8 December at The Market Theatre in Johannesburg.

Acclaimed pianist and composer Leo Gevisser will grace Cape Town City Hall’s stage with the Mzansi National Philharmonic Orchestra on 4 December as part of the orchestra’s Rhythms of Hope national tour.

Conducted by Ukrainian maestro Kirill Karabits, it promises to be a night of musical excellence.

Gevisser will perform Gershwin’s Rhapsody in Blue, celebrating its centennial. The programme also features the world premiere of Philip Miller’s uShaka iLembe Suite with vocalists Mbuso Khoza and Ann Masina, and Nikolai Rimsky-Korsakov’s Scheherazade.

A Juilliard School graduate, Gevisser, 22, has garnered multiple international accolades and last month won a prize at the Concours International de Piano d’Orléans.

Deeply connected to South Africa, he performed with all of the country’s major orchestras over the past three years. 

His career is flourishing and he has played at many festivals across Europe and the US.  

Umnikelo brings mesmerising dance to Durban

Renowned choreographer Luyanda Sidiya’s Umnikelo (Offering) will captivate audiences at The Playhouse Theatre in Durban with two performances on 6 and 7 December.

First premiered in Johannesburg in 2011, Umnikelo has earned international acclaim, including a standout performance at Finland’s Kuopio Dance Festival in 2013.  

The 40-minute production delves into the concept of offering as a voluntary act of submission to higher powers, with organised chaos mirroring internal struggles. Performed by the talented Luthando Arts Academy dancers, Umnikelo blends evocative choreography with original music by Sidiya, Xolisile Bongwana, Isaac Molelekoa, Nompumelelo Nhlapo and Anele Ndebele.

Kalashnikovv Gallery wraps with international and local showcases

Kalashnikovv Gallery in Cape Town is putting on 33.55°S, a group show opening on 4 December. Featuring 20 artists, it explores themes of domesticity, queerness, bodily autonomy, and memory through painting and textile works.

The title references the latitude of Cape Town, symbolising freedom and creative scope.

It features works by Boytchie, Cinthia Sifa Mulanga, Boemo Diale, Tinyiko Makwakwa, Bastiaan van Stenis, Chris Denovan, Alexandra Ross, Kilmany-Jo Liversage, JP Meyer, Dominique Cheminais, Ayanda Mabulu, Good Good Boy, Charity Vilakazi, Maja Maljevic, Dion Cupido, Wim Legrand, Alka Dass, Nathaniel Sheppard III, Io Makandal and Seth Pimentel.

Dominique Cheminais and Muofhe Manavhela’s exhibitions at the Kalashnikovv will be open until 30 November.

JJohannesburg-based visual artist Lusanda Ndita, a member of Occupying The Gallery, has been crowned the 2024 Absa L’Atelier Gerard Sekoto Award winner. 

Known for work rooted in domestic archives, such as photo albums and oral histories, Ndita reimagines absent father figures, crafting silhouettes that restore their influence and presence.

In his acceptance speech, Ndita thanked his ancestors, Absa and the French Institute for continuing Gerard Sekoto’s legacy. 

His win secures a three-month residency at Paris’s prestigious 

Cité internationale des arts.

French Ambassador David Martinon praised all the finalists, emphasising the award’s role in supporting artists’ perseverance and growth. 

Celebrating 20 years, the Absa L’Atelier Gerard Sekoto Award highlights South Africa’s creative excellence, marking a unique cultural-private sector partnership.  

Exhibition looks at history through fashion 

Dive into the intersections between memory, resistance and preservation with Fashion Accounts, on at Museum Africa in Joburg. 

Curated by Wanda Lephoto, Erica de Greef and Alison Moloney, this thought-provoking exhibition examines the colonial legacies embedded in museum collections while reimagining history through dress.

Featuring new works by The Sartists and Mimi Duma, alongside pieces by Thebe Magugu and Sindiso Khumalo, Fashion Accounts confronts biases in ethnographic and fashion archives.

The museum’s Bernberg Costumes & Textiles Collection, housing more than 16 000 European-centric objects, serves as a backdrop to explore gaps in representation and amplify Afrocentric narratives. 

“Fashion can be a tool of colonialism, but also a site for liberation,” notes Moloney.

The exhibition runs at Museum Africa in Newtown until 28 February. 

 SA Clay Awards debuts at Rust-en-Vrede gallery  

The Rust-en-Vrede Gallery + Clay Museum celebrates the richness of South African ceramics with the inaugural SA Clay Awards, on display until 7 December.

Marking the gallery’s acceptance as an affiliate member of the International Academy of Ceramics, this biennial exhibition showcases the top 50 pieces chosen from more than 500 entries, highlighting the breadth and creativity of local ceramic artistry.

Curated by renowned ceramicist Hennie Meyer, it balances functional, sculptural and contemporary clay works, representing diverse talents, from established artists to emerging voices.

The prize money is shared equally among the finalists, underscoring the collective spirit of the craft.

The exhibition is on at Rust-en-Vrede in Durbanville. Entry is free.

There have been numerous exhibitions of the 89-year-old’s works — characterised by bold, geometric designs and vibrant colours rooted in Ndebele culture — and in many parts of the world.

Mahlangu rose to international prominence in 1991 when she became the first woman, and the first African artist, to paint a BMW Art Car, joining an illustrious list of global artists such as Andy Warhol and Roy Lichtenstein.

Since then, her work has been featured on major exhibitions and collaborations worldwide, including partnerships with luxury brands such as Rolls-Royce and the Centre Pompidou gallery in Paris, France.

Born in 1935 in Middelburg, Mpumalanga, Mahlangu is one of South Africa’s most venerated visual artists. She began painting at the age of 10, learning the traditional Ndebele art of mural painting from her mother and grandmother. 

The retrospective traces a timeline of her work from 1980, when she was at the Middelburg Cultural History Museum, to 1989, when she exhibited a mural at Musée d’Angoulême, a public museum in Angoulême, France. It takes us from the first documentary on Mahlangu, titled Esther Se Wêreld (Esther’s world), which aired on TV1 that same year, and beyond, right up to last year. 

So, the first and only thing I ask Nontobeko Ntombela, curator of  the exhibition and a lecturer in the department of curatorial, public, and visual cultures at the Wits School of Arts, earlier this week is: “Why is this one different?”

She replied: “Then I Knew I Was Good at Painting: Esther Mahlangu, A Retrospective invites a reconsideration of Mahlangu’s work, urging us to look deeper into its symbolism, history and global resonance.”

While the artist has been celebrated all over the world, Ntombela notes that much of Mahlangu’s artistic complexity remains under-explored within South Africa. 

“We often think we have seen all of her,” Ntombela says. “The reason why this exhibition is important is because of the archive, which demonstrates the breadth of her work and how far she has produced work outside South Africa.” 

The exhibition emphasises the power of the archive, not as a definitive record, but as a space to uncover. 

Ntombela describes it as an invitation to question and explore. 

“Often, when we see a timeline, we think, ‘Well, you start from A and you end at B.’ But, in between that, there are things that are omitted. As you go through the archive, you will see a relationship and a correlation between what is captured and what is not captured,” she explains. 

This approach is particularly significant in the context of South African art history. For an artist such as Mahlangu, whose practice emerged in the early 1980s within specific cultural frameworks, Ntombela urges us to consider what this means for understanding her work today. 

“Often, the biggest challenge in South African art history is this focus on the biography of the artist, rather than sitting and really understanding what it means to be talking about the emergence of practice in the early Eighties,” she says. 

Mahlangu’s work, which is rooted in Ndebele traditions, is rich with symbols and motifs that carry layered meanings. 

Many might not fully grasp the depth of these symbols, Ntombela said: “In the context of South Africa, we often think we have seen it all, but there are people who can’t dissect some of the symbolism in her work.” 

Through careful grouping and contextualisation, the exhibition seeks to unravel these layers. It presents Mahlangu’s designs as not merely decorative forms, but as carriers of cultural, historical and spiritual significance. 

Ntombela sees this as an essential step towards a fuller understanding of her legacy. 

“Much more still needs to be written about her work,” she emphasises. 

The curator hopes this retrospective will challenge audiences to reconsider their understanding of Mahlangu’s work. 

By shifting the focus from her personal story to the intricacies of her practice, the exhibition reframes her legacy within a broader artistic and historical context. 

It is a call to move beyond the surface, to engage with the depth and breadth of her work. 

In the words of Ntombela: “A Retrospective is about this history — but do I really know what this history is about apart from the biography of this individual, in this case being Esther Mahlangu?” 

At the Wits Art Museum, the journey to answer that question has only just begun.Then I Knew I Was Good at Painting: Esther Mahlangu, A Retrospective is on show at Wits Art Museum until 17 April.

Step into the minds of 50 of South Africa’s most intriguing contemporary artists at Inner Sanctum, a new exhibition at Everard Read Johannesburg.

This show delves into the intimate spaces where artists create, each piece offering a portal into their diverse ways of working.

From chaotic studios to serene, organised spaces, the exhibition reveals the inspirations, tools and personal touches that define each artist’s inner sanctum. Divided into five themes — Objects of Reflection, Looking Inside, Echoes of Self, Creative Sanctuaries and Through the Artist’s Eyes — visitors can navigate through still life, emotional journeys, self-portraits and scenes from artists’ workspaces.

As Molle explains, artists were invited to interpret the theme freely, capturing anything from a coffee cup’s warmth to the frustrations of creativity.

Inner Sanctum will be on until 20 December.

Shop and feast at the HandmadeAfrica market

HandmadeAfrica will make its way to Oxford Parks Precinct in Rosebank, Johannesburg, on Friday 28 and Saturday 30 November. It is a festive celebration of African creativity and cuisine.

Following a successful debut at Nirox Sculpture Park, this market will feature over 50 of Africa’s top designers, offering exclusive, handmade collectables from across the continent, including Cape Town, Accra, Nairobi and Dakar.

It will include one-of-a-kind fashion, home decor and artisanal goods, as well as creative street food from some of South Africa’s top fine-dining spots.

With live DJs, choir performances and a free comedy show, plus hands-on workshops such as cocktail demos and gift-wrapping, this market has something for everyone.

The Body Moves International Inclusive Dance Festival 2024

The Sibikwa Arts Centre is presenting the Body Moves International Inclusive Dance Festival, a showcase of inclusive dance running across Gauteng and the Western Cape this month. This year’s festival highlights a groundbreaking UK-South Africa collaboration featuring Mark Smith Productions and Very Easy Productions, in partnership with the Market Theatre and the Unmute Dance Company.

Renowned UK deaf dancer and choreographer Mark Smith leads a two-week residency, crafting Synergy 2.0 with an inclusive South African dance ensemble. This new piece examining the impact of climate change on deaf and disabled communities debuts alongside Synergy, exploring similar themes.

Another festival highlight is Bells & Sirens 2, choreographed by Thapelo Kotlolo, a thrilling take on queer club culture and freedom of identity. Performances are at the Sibikwa Arts Centre (21-22 Nov), the Market Theatre (24 Nov), and the Unmute ArtsAbility Festival in Cape Town (26 Nov–7 Dec). — Lesego Chepape

This comes as the Israeli war on Gaza rages on, reaching a tipping point for journalists and media workers. 

According to the Committee to Protect Journalists, at least 137 journalists had been killed in the conflict as of 12 November, marking the deadliest period for journalists since 1992, when the committee began tracking deaths. 

Among those killed, 129 were Palestinian, two Israeli and six Lebanese. 

These individuals form part of a staggering toll — more than 40 000 Palestinians have been killed by Israeli forces over the past year. 

Journalists and documentary filmmakers have been crucial in bringing global awareness to the genocide against Palestinians. Despite the immense risks, they continue documenting the events, providing insight into the suffering and resilience on the ground. 

“We demand urgent international intervention to protect journalists and filmmakers, address the humanitarian crisis and bring an end to impunity for these grave violations,” the DFA said in their statement issued this week.

It also urged South African and international film and cultural institutions to take a stand against the human rights violations affecting journalists and civilians alike. 

DFA board member Alette Schoon emphasised that public statements, though seemingly modest, are crucial first steps in sparking awareness and conversation. 

“A statement is something that we thought we should put out as a way to start the conversation,” she told the Mail & Guardian, highlighting the need for collective action within the cultural community. 

Schoon argues that documentary filmmakers, armed with their unique voices and perspectives, play a vital role in revealing atrocities and bringing hidden stories to light. 

“We are the ones who are bearing witness to these atrocities or exposing war crimes, exposing genocide, so we need to be there,” she said.

She pointed out that the number of journalists who have been killed in this conflict surpasses those killed in previous wars, calling it “outrageous” and a signal for the global community to respond.

Schoon also supports a cultural boycott, similar to the one which was used against apartheid South Africa, to build awareness and put pressure on Israel. 

Meanwhile, a group of Palestinian filmmakers, including notable directors such as Hany Abu Assad and Elia Suleiman, recently sent a letter to America’s National Academy of Television Arts and Sciences.

According to Variety they accused Hollywood of “dehumanising” Palestinians on screen, arguing that decades of biased representation has contributed to the world’s desensitisation toward Palestinian suffering.