22 :: ? Keituletse ‘Keitu’ Gwangwa took over the reins at the historic Windybrow Arts Centre at the beginning of 2018. Once the home of a mining magnate, the building could embody conflicting histories for the surrounding multitude of cultures that call Hillbrow home, but the focus of the centre has always been a Pan-African one. She explains, “I didn’t come here by myself…”, elaborating how the cultural greats of the liberation movement – “Uncle Willie” (Kearapetse Kgositsile), “Uncle Hugh” (Masakela) – had always fed her knowledge, conversation, books to read; and that it was through their tutelage that her understanding of indigenous knowledge systems took hold, and that she was prompted to consider mechanisms for documenting that information, and the importance of this knowledge for the people of the continent. This idea finally finds its home for her at the Windybrow, and as Gwangwa asserts, “When you know your purpose, you will unapologetically pursue it!” Not only is she a child of the liberation movement, she is also the daughter of legendary South African jazz musician Jonas Gwangwa, and her life has thus been lived at the coalface of the artists’ experience. She says she always wanted to be an actress, but having earned the opportunity to take to the stage in two Janice Honeyman productions of Shakespeare, she realised very quickly that life in the spotlight was not for her, and that she was far more excited orchestrating things behind the scenes, “watching something grow RE-ENVISIONING THE ARTS CHANGING OF THE GUARDS