In the wake of the strict silencing of political voice, the culture of latently planted revolutionary thought permeated some of the radio dramas; most notably those of Alexius Buthelezi. The earliest of these was the 1960s series Chakijane; a drama based on the Zulu folktale trickster told through musical format. The resurrection of this character not only conserved this orally inherited treasure, in the context of political and social repression, his freedom of movement and ability to combat the most seemingly impossible of foes and situations meant Chakijane's presence on air mimicked and could be viewed as a symbol of the underground resistance movements and thus a celebration thereof. In a time where White supremacy was becoming physically articulated by space and the force feeding of Christianity was being misused as the means of justification for this racialised stratification, uNokhwezi18 found her way onto radio. This self-contained play followed the journey of a young beautiful woman who wins the affections of the most eligible bachelor in the Chiefdom, becomes the victim of other women's jealousy and finds herself wandering through a dark forest with only a necklace, which was given to her by her mother, who had been advised to do so by her ancestors, that in the end protects her. This invocation of ancestral belief can be seen as a challenge to the dominant ideology of misused Christianity and its implication of Blackness being a synonym for a lesser being. In the process, Buthelezi goes about preserving certain izibongo and experimenting with emotive sound. Muntu Xulu's play Icala lombango (July 1967) also went about capturing izibongo and amahubo along with old isiZulu and the newly developing Mozambiquan dialect of isiZulu in the process of telling the story.