Borrowing its name and image from township slang for black youth who rode the overcrowded African sections of the racially segregated commuter trains by hanging onto the outside or sitting on the roofs, Staffrider had two main objectives: to provide publishing opportunities for community-based organizations and young writers, graphic artists and photographers; and to oppose officially sanctioned state and establishment culture.
Produced by the same Durban "moment" that saw Steve Biko begin the South African Students Association, Staffrider had a view of literature with a small "I": it's base was popular rather than elite and it sought to provide an autobiography of experience in its witness of daily black life in South Africa. The magazine's nonracial policy and choice of English as a non-ethnic mode of communication attracted a cross-section of writers, artists and other contributors to the magazine. Debates around Staffrider's "self-editing" editorial policy were ongoing and the magazine eventually adopted quality control measures under the editorship of Chris van Wyk. But the magazine's early flexibility ensured that the work of previously unpublished writers and artists appeared alongside that of many South African notables including Nadine Gordimer, Lionel Abrahams, Rose Zwi, and Mtutuzeli Matshoba.
Mothobi Mutloatse, Mike Kirkwood, Kay Hassan, Njabulo Ndebele, Achmat Dangor, Paul Weinberg, Mafika Gwala, George Hallet, Mzwakhe Nhlabatsi, Sam Nhlengetwa, Malopoets, Es'kia Mphahlele, Kelwyn Sole, Chris van Wyk, Andries Oliphant,Thami Mnyele, William Kentridge, Gerard Sekoto