Before the flood of dancing groups, Sandra Ndebele was already there, unleashing her evocative dances. Some men lustfully drooled at her un...
Before the flood of dancing groups, Sandra Ndebele was already there, unleashing her evocative dances.
Some men lustfully drooled at her ungoverned energetic exploits. Show after show, she dug deeper into her creative bag, releasing more moves.
Her signature chant, “Sandy, Sandy” vibrated, as she launched herself into a dancing frenzy, only curtailed by fatigue. Her flattened legs, spread out at 180 degrees sent her fans into ecstasy. However, her robust suggestive dances attracted rebuke, some labelling her a source of moral decadence.
By the time dance troupes made inroads, Sandra was already an established musician, director, choreographer, and dancer, all rolled into one. She had seen it all, having performed on diverse platforms across the globe, touring with IYASA in theatre, music and dance. Since going solo, her discography lineup of 10 albums has yielded accolades and worthwhile collaborations.
Then she went on a hiatus. Everyone wondered if she had retired, starving the fans of her creative juices. Then hot images flooded social media. And Sandra was back to where she belonged, the dancing floor, and her fortress. The songstress was ready to unveil herself, once more.
Twenty years after her debut, the mother of dancing queens decided to rebrand herself with an extra mature, appealing look alongside her seventh album titled “Up the Ladder”. Gone are the wild swirling dances, replaced by a high energy dance sound, which had become her trademark.
“One day I looked at my reflection in the mirror while I was naked,” Sandra boldly declared. “I did not like the image and I was inspired to work more on my body. I am not done with transforming my body.”
True to her promise, she appeared on stage to revive the Sandy magic that fans had been craving for. Those who thought she was done, soon embraced her new album, with another tack: “Usabvume” encouraging people to persevere in life, despite their age. The attention that had evaded her during her absence on the entertainment scene was abruptly rekindled.
Her naysayers, as usual, were quick to quiz her motives, mentioning she was now single, and probably seeking attention. Just as before, she was a centre of attraction for her choices, but Sandra always had the right responses. “Men are sending all sorts of messages, from compliments to dirty stuff, but I understand it,” Sandra confided to the press.
“I went through a similar phase when I broke into the limelight as a girl many years ago. We laugh at some of the messages with my husband.” The couple met at high school, and then later got married.
The queen of the dance floor has managed to stay relevant, and survive the pressures associated with the trade because she remains tuned to her values. “The reason why I’ve managed to stay in the music industry is that I’m always me,” she said. “I believe that I’ve managed to brand myself and that’s why I’ve managed to outlast all the other women in my field, aside from those in the gospel music genre.”
Away from music, Sandra has activated her business acumen, bringing her mastery into creating Ndebele beadwork, including necklaces, bracelets, traditional skirts, and bras. As someone dedicated to preserving her culture, her fashion taste has received gratitude.
Her signature chant, “Sandy, Sandy” vibrated, as she launched herself into a dancing frenzy, only curtailed by fatigue. Her flattened legs, spread out at 180 degrees sent her fans into ecstasy. However, her robust suggestive dances attracted rebuke, some labelling her a source of moral decadence.
By the time dance troupes made inroads, Sandra was already an established musician, director, choreographer, and dancer, all rolled into one. She had seen it all, having performed on diverse platforms across the globe, touring with IYASA in theatre, music and dance. Since going solo, her discography lineup of 10 albums has yielded accolades and worthwhile collaborations.
 |
| Sandra Ndebele |
Twenty years after her debut, the mother of dancing queens decided to rebrand herself with an extra mature, appealing look alongside her seventh album titled “Up the Ladder”. Gone are the wild swirling dances, replaced by a high energy dance sound, which had become her trademark.
“One day I looked at my reflection in the mirror while I was naked,” Sandra boldly declared. “I did not like the image and I was inspired to work more on my body. I am not done with transforming my body.”
True to her promise, she appeared on stage to revive the Sandy magic that fans had been craving for. Those who thought she was done, soon embraced her new album, with another tack: “Usabvume” encouraging people to persevere in life, despite their age. The attention that had evaded her during her absence on the entertainment scene was abruptly rekindled.
 |
| Sandra Ndebele |
“I went through a similar phase when I broke into the limelight as a girl many years ago. We laugh at some of the messages with my husband.” The couple met at high school, and then later got married.
 |
| Sandra Ndebele |
The queen of the dance floor has managed to stay relevant, and survive the pressures associated with the trade because she remains tuned to her values. “The reason why I’ve managed to stay in the music industry is that I’m always me,” she said. “I believe that I’ve managed to brand myself and that’s why I’ve managed to outlast all the other women in my field, aside from those in the gospel music genre.”
Away from music, Sandra has activated her business acumen, bringing her mastery into creating Ndebele beadwork, including necklaces, bracelets, traditional skirts, and bras. As someone dedicated to preserving her culture, her fashion taste has received gratitude.
 |
| Sandra Ndebele |
She also trades in traditional herbs.
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