Speaking on the intended impact of the festival, STAND Foundation board member, Lesego van Niekerk shared; “The youth of 1976 rose up to claim their voices and their future. This weekend festival provides a platform for today's youth to share their insights, their fears and hopes using comedy and satire as their cultural weapons. We live in challenging times - comedy and humour help us to get through these times.”

Kwesta, real name Senzo Vilakazi, the dude from the township of Katlehong, Gauteng, South Africa - popularly known as K1- who made good, recently dropped his fourth major album titled g.o.d. Guluva after a five-year hiatus. For the first time in his checkered career, the release is executed under his own (hopefully) label, Dope Dreams.

She Bad Bad is a photographic exhibition for emerging Black female photographers in South Africa. The title is a celebration of their strength, courage and diversity, coined from the colloquial term “bad bitch”, She Bad Bad describes women whose photography re-imagines conceptual works of art through lived experiences. These are the “Bad bitches” of the industry.

We must question the ideal of the youth being the solution to the current dated and spoiled cabinet who have their self-interests taking precedence over their civil service. The youth who thrust themselves into the rites of passage that leads them to the doors of ANC and Eff offices, the leaders of student unions, have often come under fire for inappropriate behavior.

In the twilight a dog's wail can be heard in the distance, there is no real silence in the township, in between the stolen moments of serenity there are eerie sounds to remind the people of how low they fall on the food chain; a crying baby; a woman scolding her children for this thing or the other; a helicopter flying above the small houses looking for a stolen car; a terrifying gunshot in the distance.

When I heard Mr Percy Mtwa (who wrote, directed and starred in the play) alongside his co-stars Mr Tshallo Chokwe and Mr Terrence Ngwila scream out those words at the end of the play, I couldn’t help but clap as hard as I could, yell as loudly as I could behind my mask and got on my feet. I looked around and noticed how everyone else who was in the theater had the same thought. These three gentlemen deserved the standing ovation they received.

South African pianist Nduduzo Makhathini characterises the university as “a space that does not listen to its surrounding” , if that is indeed the case, then UCT and other universities cannot be trusted to keep archives in ways that are fully attentive to the histories of Black communities without reproducing colonial narratives and practices

“Lyricism seemed not only permissible but possi-ble. In the late ‘90s I became aware of colour as a particular quality of this place and its light that I wanted to explore. It seemed ‘thin’, yet intense,” wrote Goldblatt in the publication, Regarding In-tersections (Steidl, 2014).