Thandiwe Chidzungu, [email protected]
“WHAT good can come out of Nazareth?”
This biblical question finds a powerful parallel in the story of Sithandazile Dube, affectionately known as Um’Afrikazi.
Dube and I share the same roots, having grown up in the same underprivileged community and attended the same primary school. I cannot help but reflect on how far we have come. Here we are, two daughters of Old Magwegwe, or njenga mankazana ase Old, as we fondly call ourselves, bringing our township into the limelight through our respective journeys.
And so, the question arises: What good can come out of Old Magwegwe?
In the case of Sithandazile Dube, a proud product of Magwegwe Primary School, the answer is clear. She is a shining example of the remarkable women our community continues to nurture. One is reminded of Proverbs 31:29: “Many women do noble things, but you surpass them all.” These words aptly capture the spirit of a woman whose talent, determination and creativity continue to make their mark.
An educator, singer, actress, poet and storyteller, Dube has cultivated a distinctive creative identity rooted in African heritage and the resilience of women. Um’Afrikazi uses her voice, performances and distinctive style of dress to celebrate the richness, beauty and diversity of African womanhood.
Through her multifaceted artistry, she honours her cultural roots while amplifying the stories, experiences and strength of African women, demonstrating that extraordinary talent can emerge from even the most overlooked communities.
Born at Mpilo Central Hospital, Dube grew up in Old Magwegwe and Silobela before her family moved to Nkayi, under Sikhobokhobo, to a village called Sebhumane. These experiences, shaped by different communities and cultural influences, form part of the foundation of the woman and artist she has become.
The name Um’Afrikazi is central to Dube’s identity and creative expression. More than a stage name, it represents her celebration of the African woman, her resilience and her greatness.
She draws inspiration from the concept of imbokodo, commonly associated with the strength of African women, and from the feminine identity often attributed to Africa itself. For Dube, the suffix — kazi emphasises the female dimension and greatness, celebrating African womanhood in all its splendour.
Her identity finds expression in her clothing, which she uses as a canvas for telling African stories. She embraces styles inspired by Ndebele, Kalanga, Sotho, Tonga, Nigerian and Ethiopian cultures, among others. For her, being Um’Afrikazi means celebrating Africa without limiting herself to one cultural expression.
Dube’s journey into performance began long before she entered the professional creative industry. As a young child, she performed at church, reciting Bible verses and developing an early appreciation for the spoken word.
One of her first memorable performances took place in Grade Two at Magwegwe Primary School, where she sang a Bemba song her father had taught her during a Commonwealth Day commemoration. The experience marked an early chapter in a journey that would eventually encompass poetry, acting and storytelling.
Her professional career began in 2006, when she received her first pay cheque for her creative work. Before then, she had already established an identity as a poet, earning the name Sitha the Poet.
Poetry remains an important part of her creative foundation because of its ability to communicate emotions and experiences in ways that resonate with different audiences. It can make people laugh, bring them to tears and provoke reflection.
Yet Dube resists being confined to a single artistic category. Her work moves between performance, education, storytelling and advocacy, reflecting a personality that cannot easily be placed in one box.
She says: “I speak for a living, everything I do, as cultural advocate I speak, as an educator I speak, as an entertainer I speak, and as a poet I speak. I act for radio and for film and I speak.”
Her voice remains her most important instrument.
Beyond entertainment, Dube’s work engages with the realities facing women in African communities.
She says: “Women need to be strong, nurturing beings, persevere, and sacrifice their own happiness. We cannot even get angry or get tired as women. When your children and the family bring their problems, you have to be there for them. We are ridiculed even about our weight; we need to talk about female economic independence.”
She also calls for a broader understanding of gender-based violence. While physical abuse is widely discussed, she believes emotional and verbal abuse deserve greater attention.
As a teacher of accounting and business enterprise, Dube’s professional life may appear distinct from her cultural advocacy. Yet the two are connected by her commitment to empowering people with knowledge and skills.
She considers indigenous languages essential to African creative expression, particularly because they allow performers to communicate emotions, humour and cultural meaning in familiar and authentic ways. She advocates for more films, comedy and other creative productions in indigenous languages, arguing that these platforms can help preserve languages for future generations.
Dube’s creative outlook has been shaped by the women who came before her, including mothers, grandmothers and historical figures such as Queen Lozikeyi. She admires their resilience, wisdom and sacrifices, recognising that much of the knowledge passed down through generations was acquired through lived experience.
She recalls her own mother’s wisdom, despite her lack of formal education, as an example of how knowledge extends beyond the classroom.
These women inspire Dube to ensure that cultural knowledge is not lost but passed on to younger generations. Through her work and participation in Imvelaphi, an online podcast where she engages with older people, she continues to explore African origins, traditions and collective memory.
One of her greatest challenges has been balancing her responsibilities as an educator, mother and artist. She also highlights the lack of recognition for the preparation, time and financial investment that go into creative work.
She reflects: “Artists are sometimes expected to accept inadequate compensation, with audiences and clients overlooking the labour behind a finished performance.”
Her advice to fellow creatives is to remain committed to their calling, even when recognition is slow to come. She is particularly passionate about creating possibilities for the girl child.
Her message to young African women is clear:
“Do not wait for permission from anyone to become who you want to be, who you were meant to be, your story matters, your voice matters, tell your story the way you want, do not be compelled to imitate anyone, be consistent, be disciplined, keep your integrity and never allow anyone to exploit you, protect your intellectual property.”
Equally important, she urges women to make room for others as they rise, ensuring that personal success becomes an opportunity to uplift those who follow.
