Late last week, as if anticipating this week’s very much coffee, muffins and sex weather, Ntsika Ngxanga member of award winning a cappella trio The Soil, released his impeccably grounded solo album.

Historically, Africa emerges to the modern world (at least at a conceptual level) as a moment/place of disequilibrium, a vertigo, a whirling-to-nowhere.th)

While blackness, as an imposed reality, that creates a certain field around the subject, has come to be acknowledged as such, little has been done to problematise intersubjective relations between black people.

This is not jazz. This is not classical music. This is also “not” either. Its title says what it is – Tefiti – the category of the uncategorised whose known – unknown genre status is that which lies in its becoming, which can be rendered symbolic.

The toxic practice of religion in South Africa represents one of the legacies of set-tler colonialism, and its persistent structural problems that have seen the looting spirit and demons of the ANC leading the destruction of our moral rectitude.

South African skrr skrrs are often ridiculed for their outlandish behaviour when they venture out of their natural habitats. When skrr skrrs visit the more conservative homelands, for example, they are questioned about their behaviour to which a typical response would be “I’m doing it for the culture, fam.

A Black Aesthetic: A View of South African Artists (1970 -1990), curated by Standard Bank Gallery manager and curator Dr. Same Mdluli, features the work of Black artists from various backgrounds, whose style and approach to artmaking are distinctly each of their own.

Poet Makhafula Vilakazi is tired of living in the shadow of Shakespearean poetry. Born Matodzi Ramashia in Chiawelo, Soweto, Makhafula has created a brand of poetry that sees him delivering his rap inspired lyrics in township slang.”