In the mainstream studies there is an argument that no slaves were harvested from South Africa. This is from European tendencies of treating South Africa as if it were separate from the rest of the continent. In his article ‘Slavery, social incorporation and surplus extraction; the nature of free and unfree labour in South-East Africa’ (1981), the late historian Patrick Harries of the University of Basel, Switzerland, observed that, “it is commonly believed that in south- east Africa the Nguni had a natural aversion to both export and domestic forms of slavery”

It takes the funeral of a PAC or AZAPO cde or Sobukwe and Biko commemoration to remember that it is not yet Uhuru; that Azania is still occupied by settler colonialists and the Land has not been returned to its people.

The latter is undertaken, to hopefully record and reflect on the epistimicide I experienced, in my scholarly trajectory, as a ‘Black’ South African.

"The last king of the AmaBhaca people was Inkosi Madzikane ka Zulu. He died in the 19th century in what is now Mount Frere, next to the Drakensberg mountain range. The name "amabhaca" means refugees. They were the refugees from the Mfecane wars that had uprooted the nation from its original home in what is now KwaZulu-Natal.

In itself, there is nothing unsuitable with Black America collaborating with African artists to produce commercial products, as is the case with Beyonce’s Black is King, but we must be under no illusion that Black is King is still very much Beyonce’s.

The actor takes on a sage-like essence, by being so attuned to the moment that the breakage is soothed and manoeuvred into an unforeseen bend on a road that was otherwise without obstacle. This actor guides the enrapt audience further into the unfolding world, which presents itself to them for the first time.

I recently found myself at a crossroads with regard to the conversation around Black Lives Matter in South Africa’s cricket and rugby spaces. When Makhaya Ntini told his story, my immediate feeling was of empathy and sadness.

In this performance, Miss Ntuli invites us into the deep corridors of her inner self, to witness a personal story of love, displacement, otherness and internal yearning. Like many a sublime artist, the art itself cuts tenfold, dwarfing this narration.