(Photo by ER Lombard/Gallo Images via Getty Images)

South Africa's coronavirus cases have passed the 10,000 mark. The country eased off on the lockdown, allowing other industries to re-open, but they must still adhere to level 4 lockdown regulations.

Kissing Won’t Be Allowed on South African TV Amid Coronavirus Pandemic

To combat the spread of the coronavirus, there won't be any kissing on South African TV.

As part of the country's ongoing Covid-19 national lockdown, kissing or facial intimacy in any performance won't be allowed on South African TV, City Press reports.

The country's film and TV industry was last week given the go-ahead by the government to resume production following a month-long suspension. The industry had been forced to go on a hiatus just like most "non-essential" sectors in the country to slow down the spread of the coronavirus which causes Covid-19.

But, after President Cyril Ramaphosa announced he would be slowly re-opening the economy, a number of industries were allowed to re-open in what is known as level four of the lockdown. Those industries are still required to adhere to strict lockdown rules and regulations.

As a result, a maximum of 50 people will be allowed on set including cast members, and masks are to be used on set.

South African actress Asavela Mngqithi told City Press that working under the current restrictions didn't feel normal at all.

"They have very strict rules on set and it's weird working with masks and keeping social distance, but it feels good to be back at work. We all have to learn to work safely and to protect each other," Mngqithi was quoted by City Press as saying.

South Africa is currently standing at more than 10,000 cases of the virus, the death toll stands at 194, and there have been 4,173 recoveries to date.

Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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