The banning of the song was a gesture, an indication that the devices that were used by apartheid institutions to silence certain views would possibly continue post-1994. Beyond the literal meaning of the song Phuzekhemisi did something unprecedented at the time.
When I started pyrography in 2015, I gravitated towards images of women I found relatable. I chose images of women whose facial and emotive attributes spoke to me. The feelings evoked by the images were more than a mere double-tap, I felt a connection to them that seeped into my craft.