It is for this and other reasons that, I regard Vuka Machel as a rare and beautiful moment of Black resistance. A moment of resistance at a time when many of us Black people have chosen the posture of collaboration - as opposed to resistance against the multifaceted system of white supremacy/capitalism/neoliberalism/violence against Black women/ and anti-blackness in general.

When I say we Blacks are afraid of whites I don't necessarily mean an individual Black person is afraid to engage in a physical confrontation with a white person. Neither do I refer to our individual anxieties about colliding with a gang of drunk-young-white Batista-like rugby players, on a Saturday night, who might moer the last bit of Blackness out of you.

Zahara is a multi-award-winning artist with platinum selling albums. She broke into the scene with her timeless anthem Loliwe and continued giving us hits such as Ndiza, Mali, Mgodi and Destiny among others. She has been celebrated for her musical prowess and also faced some challenges in her journey but this East London beauty is still standing and sharing her gifts with the world

Four years later, Ngobeni has revisited that powerful series and reproduced the artworks from that seminal show in the medium of print. The linocuts offer a graphic reinterpretation of Ngobeni’s large, bold, and complex collages on canvas – rendering the familiar images in softer tones of blues, purples and greys. The linocuts offer an intimate conversation with the artist, a quiet moment to reflect on his past statements, future ambitions and immediate realities.

Myeza's critique was published on 4 May, 1987 by the Sowetan newspaper, under the heading 'Force White Voters Ignore'. As I understand it, his critique sought not only to expose the uselessness of this election to Black people, but also the dangerously deceptive role of white liberal organisations in 'mainstream' South AfriKKKan politics.

“I took a lead from people just telling me what they see in the works. It made me comfortable in not just sticking to one narrative or pushing what I wanted them to see. I’m not precious about how people interpret the work so that’s why I’m shuffling the characters, seeing how they communicate next to each other and what narratives can be born from that.

Every time Black people organize themselves against an identified enemy, on the basis of (progressive) principles, they soon collapse internally and give up on the objectives of the movement or organization. The presence of spies, who take classified information on next moves and programs to the enemy, doesn’t make it easier for the organization, movement and leadership.

You downgrade the level of education to below lesoba la mogodu standards, to below international or even IEB standards, you remove maths almost completely because bana ba Botsang are as dom as their father in figures except money and introduce a worse than arithmetic maths literacy what what. You firstly downgrade the pass mark from 50% to 40%, then to 33.34%, now to 30% in order to push kids forward and you tick your boxes of success.