Thami AkaMbongo Manzana: Demystifying the truth about financial support in South Africa’s Cultural and Creative Industries.

In the heart of South Africa’s Cultural and Creative Industries (CCIs), an uncomfortable yet necessary conversation must be had: the stigma surrounding funding. Somewhere along the journey, the narrative was distorted, and seeking or receiving funding became synonymous with weakness, lack of independence, or poverty. This mindset has not only misled many creatives but has also contributed to a toxic culture of silence, shame, and exclusion.

Let us set the record straight: funding has no race, no class, no status. Whether you are rich or poor, black or white, emerging or established, funding is a tool for growth, sustainability, and impact. It’s time to stop pretending otherwise.

The Myth of “Self-Reliance” and the Hidden Funding Dependency It’s become fashionable in certain circles to boast, “I don’t rely on funding.” Yet these very individuals and institutions often draw salaries from organisations funded by the government, donors, corporates, or development agencies. Whether it’s a major theatre company receiving annual subsidies, a museum funded by a trust, or a music festival backed by corporate sponsorship – funding is embedded in the very fabric of our creative ecosystem.

Take for example:

The National Arts Festival in Makhanda, which many view as a prestigious, self-sustaining platform. While it generates revenue through ticket sales and vendors, it continues to receive substantial financial support from the Department of Sport, Arts and Culture and international partners. The infrastructure needed to run such a large-scale event is only possible through a diversified funding model.

The South African Broadcasting Corporation (SABC) commissions television and radio content under its public service mandate. These contracts, often funded by the government, are crucial for scriptwriters, producers, actors, and musicians who depend on those jobs to survive.

The Market Theatre Foundation, a cultural institution held in high regard, receives significant state funding, yet it employs some of the most seasoned artists in the country. Does this make them less professional? No. It makes them sustainably supported.

So why then do so many in the CCI sector stigmatize or look down on peers who are transparent about pursuing funding?

Funding as an Enabler, Not a Crutch

Funding should never be viewed as a handout – it is an investment. An investment in innovation, heritage preservation, job creation, education, and community building. When a dancer from Katlehong receives funding to tour Europe, that’s not dependency – that’s global cultural exchange. When a writer receives a grant to publish a book in indigenous languages, that’s not charity – it’s language preservation and literary expansion.

Rather than hiding behind the mask of independence, we must begin to:

Acknowledge the role of funding across the sector – from grassroots projects to high-end productions.

Educate ourselves and others on how funding works, who provides it, and what it means to receive it with integrity.

Support and celebrate those who access funding and use it responsibly for development, growth, and community impact.

Class, Race, and the Illusion of “Funding Shame”

Some of the shame attached to funding is rooted in classism and elitism. There’s an unspoken belief that only the underprivileged need funding, while the “elite” make it on their own. This is both untrue and harmful. Even the wealthiest global art institutions – like the Guggenheim in New York or the Tate in London – run on funding, partnerships, and grants. Why should a township theatre group in Soweto feel ashamed for applying for the Presidential Employment Stimulus Programme when billion-dollar museums are applying for public grants?

Similarly, race is often used to shame Black creatives when they receive support. There’s a dangerous narrative that insinuates that excellence from Black artists is only a result of “handouts,” not talent or hard work. This racist undertone must be challenged head-on. Excellence is excellence, and access to funding is a right, not a reward.

Let’s Talk Numbers: How Funding Supports the Sector According to available data, the Cultural and Creative Industries contribute over R160 billion to the GDP of South Africa and employ close to 1 million people directly and indirectly. But to keep this wheel turning, investment is necessary. This includes:

Film and Television: Bodies like the NFVF and IDC provide funding for productions, enabling job creation from camera crew to post-production.

Visual Arts and Craft: Projects funded by the NAC or provincial departments often help sustain rural and township artists.

Music: SAMRO royalties and funding from institutions like the Music In Africa Foundation offer lifelines to composers and performers.

Theatre and Dance: Funding enables production costs, rehearsal space hire, costume design, and access to venues.

Would these sectors thrive without funding? Possibly. But not equitably – and certainly not inclusively.

What Needs to Change?

Reframing the Narrative: We need to normalize funding discussions in public forums, at industry conferences, and in social spaces.

Training and Access: Many creatives are excluded not by funding availability, but by lack of training on how to apply, manage, and report funding. Workshops, mentorships, and community funding hubs should become standard.

Transparency and Accountability: Those who receive funding should be held accountable to use it ethically, and institutions must operate transparently in how funds are distributed.

Celebration of Funded Projects: Platforms and awards should highlight successful funded projects to showcase their value and inspire others.

Final Thought: Let’s Stop Lying

Stop lying to yourself. Stop lying to others. If you’re working in the cultural sector in South Africa – you are already benefiting from funding, directly or indirectly. There’s no shame in that. What matters is what you do with it: who you uplift, what you create, and how you use it to empower others.

Let’s teach the next generation of artists that asking for support is not weakness. It’s wisdom. Funding is not a badge of shame. It’s a lever for transformation.

Thami AkaMbongo Manzana
akambongo@gmail.com
Hashtag Entertainment Productions
http://www.akambongo.co.za

Disclaimer: Artslink.co.za encourages freedom of speech and the expression of diverse views. The views published do not necessarily represent the views of Artslink.co.za.

Thami AkaMbongo Manzana writes on his personal capacity.