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Tshepiso Hlongwane

Tshepiso
Hlongwane

Biography

Tshepiso Hlongwane is a Tshwane University of Technology (TUT) graduate and 

emerging performing arts practitioner, researcher, and academic. Since joining the 

Department of Performing Arts in 2020, he has excelled in his Acting specialisation, 

graduating Cum Laude with a Postgraduate Diploma in Performing Arts and receiving 

the Executive Dean’s Award as the top Advanced Diploma student in 2023.

His performance credits include Two Trains Running (2022) by August Wilson, Party 

Time (2024) by Harold Pinter, both directed by Dr Lemmer at TUT and Transcendent

(2026) at the South African State Theatre, directed by Zaza Cala. He also coproduced Shattered Bliss at the 2023 TUT Arts Festival and TX Theatre.

In 2025, Tshepiso served as a panellist at Artivism, a symposium addressing GenderBased Violence (GBV) through the arts and social engagement. He is currently 

pursuing a research Master’s degree while continuing to build his profile as a versatile 

theatre practitioner

Ntlhomole Tshethlo

Performance: NTLHOMOLE TSHETLHO (remove a thorn from me)

Ntlhomole Tshetlho draws on the symbolism of the devil's thorn, representing the 

painful social conditioning of toxic masculinity that must be removed before healing 

and reconciliation can begin.


Ntlhomole Tshetlho is an interdisciplinary performance combining acting and dance to 

explore healing, trauma, and reconciliation through the lens of gender-based violence 

(GBV). Rather than depicting violence itself, the work examines the emotional journey 

of a young man before violence emerges. Naturally gentle, empathetic, and 

emotionally sensitive, he is raised within a culture of toxic masculinity that teaches him 

to suppress vulnerability and equate manhood with emotional control. As he grows, 

he struggles to reconcile his authentic self with society's expectations. His inability to 

understand women's emotional experiences, coupled with his expectation that they 

should respond to his logic, leads to increasing frustration and emotional instability. 

The performance does not justify violence but investigates how unresolved trauma, 

rigid gender norms, and emotional illiteracy can become precursors to it.

The narrative centres on a transformative conversation between the young man and 

an older woman, who guides him towards self-awareness, empathy, and emotional 

healing. Through dialogue and embodied movement, the performance symbolically 

removes the "thorn" of harmful masculine conditioning, allowing him to reconnect with 

his compassionate identity and develop a deeper understanding of emotional 

difference.

The work responds to the ongoing GBV crisis. The World Health Organization (2021) 

estimates that nearly one in three women globally experience physical and/or sexual 

violence during their lifetime, while research links rigid masculine norms with increased 

aggression and poorer emotional wellbeing among men (Jewkes, Flood & Lang, 2015; 

Heilman, Barker & Harrison, 2017). By positioning performance as a space for 

reflection and healing, Ntlhomole Tshetlho invites audiences to rethink masculinity, 

emotional vulnerability, and reconciliation as essential pathways to preventing 

violence.

Keywords: Toxic Masculinity; Emotional Regulation; Healing; Reconciliation

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