Thamsanqa AkaMbongo Manzana: A missed opportunity or a necessary closure?

The final curtain has been drawn on Gqeberha: The Empire, the first IsiXhosa production that graced our screens from the picturesque landscape of Gqeberha in the Eastern Cape. This production marked a pivotal moment in South African television history by providing an unprecedented long-term opportunity for IsiXhosa-speaking actors, as well as employment for local crews, production teams, and various support industries. The local economy thrived, with businesses and communities reaping the benefits of hosting a large-scale production.

However, like all things, Gqeberha: The Empire has come to an end. This closure raises important questions about the sustainability of local productions, the opportunities provided to marginalised communities, and the long-term impact on the Eastern Cape’s film industry. The debate surrounding the advantages and disadvantages of ending long-term contracts in such productions is complex, and this article seeks to provoke thought and discussion about the consequences of this conclusion.

The advantages of long-term production contracts

One of the most significant advantages of long-term contracts in productions like Gqeberha: The Empire is the stability they provide. For many actors and crew members, the entertainment industry can be precarious, with jobs often few and far between. Gqeberha: The Empire created a rare opportunity for stability in an industry marked by uncertainty, allowing artists to hone their craft and build sustainable careers.

In addition, the production fostered local talent, exposing IsiXhosa-speaking actors and filmmakers to opportunities that were previously inaccessible. This was especially important for the Eastern Cape, a province often overlooked in favour of more established hubs like Johannesburg and Cape Town. With a high unemployment rate, the economic boost provided by the production was invaluable. It wasn’t just about the glamour of the entertainment world, but the indirect impact on the local economy – businesses ranging from catering to logistics experienced a surge in demand, bringing vibrancy to the city.

The disadvantages of ending a long-term production contract

Yet, despite these advantages, the end of Gqeberha: The Empire highlights the inherent risks of over-reliance on a single production for economic and career stability. The sudden conclusion of the show leaves many actors and crew members unemployed, with no immediate prospects on the horizon. This kind of abrupt closure can have a devastating impact, not only on individuals but on the entire community that had grown around the production.

The closure also reveals another critical flaw: the lack of a clear succession plan. There are questions about whether enough local creatives were mentored to carry forward what Gqeberha: The Empire had started. Did the production leave behind a legacy of skills transfer and industry growth, or was it simply a fleeting economic boost that disappears with the show’s end?

Without careful planning and long-term strategies, the production’s closure could lead to a talent drain, with skilled individuals migrating to other provinces or industries in search of work, leaving the Eastern Cape film industry in a precarious position once again.

Questions that must be asked

The ending of Gqeberha: The Empire raises a series of critical and complicated questions that must be addressed if we are to craft a sustainable way forward for IsiXhosa productions and the broader Eastern Cape film industry. These questions are not just theoretical; they strike at the heart of what it means to create a vibrant, inclusive, and sustainable creative industry.

1. Did IsiXhosa-speaking audiences across the country fully watch and support the production?

One of the most important questions revolves around viewership. Did the IsiXhosa-speaking community rally behind this production, or was it sidelined in favour of more mainstream content?

2. Did the people of Gqeberha make this production their own, supporting it with local pride?

Local pride can often make or break a production. Was Gqeberha: The Empire embraced by the community, or did it fail to become a point of pride for local audiences?

3. Were local Eastern Cape creatives fully engaged in the production, beyond playing background roles?

A sustainable film industry relies on the active involvement of local talent. Did the production team truly integrate Eastern Cape creatives into the process, or were they merely filling in minor roles without gaining real industry experience?

4. Did the production have a succession plan that involved mentoring local filmmakers and creatives?

The end of a production is inevitable, but the real question is what happens after. Was there a plan to mentor local filmmakers, enabling them to take the reins in future productions?

5. Does the conclusion of Gqeberha: The Empire signal a potential for a new IsiXhosa production to be shot in the Eastern Cape?

Is this the end of IsiXhosa productions in the Eastern Cape, or merely the beginning of a new chapter? Are there plans in place to continue this momentum with future projects?

6. Does Mzansi Magic, the channel that aired Gqeberha: The Empire, have plans for another IsiXhosa telenovela or soapie that celebrates the Eastern Cape’s language and landscape?

Given the cultural significance of Gqeberha, will Mzansi Magic or other broadcasters continue to invest in IsiXhosa-language productions, or will the gap left by the show’s end remain unfilled?

7. What are the Eastern Cape government and cultural bodies’ plans to ensure the continuity of the film industry after Gqeberha: The Empire?

With the production gone, what steps will the Eastern Cape take to ensure its nascent film industry doesn’t collapse? Will there be public and private investment to build on the foundation laid by Gqeberha: The Empire?

8. Was there enough industry infrastructure developed during the production that could continue to support local filmmakers?

Did the promises of studio spaces and other infrastructure materialize, and if so, how can they be leveraged for future productions?

9. Did the production team ensure that local crew members gained transferable skills that would make them competitive in the broader South African film industry?

While the production may have provided jobs, were these jobs merely temporary, or did they provide long-term career development opportunities?

10. How can the lessons from long-running South African TV productions, such as Generations* or Isibaya, be applied to future IsiXhosa productions?

South Africa has a history of long-running television productions that have created lasting impacts. How can these lessons be adapted to ensure that future IsiXhosa productions are sustainable?

The way forward

Gqeberha: The Empire may have come to an end, but its legacy is still being written. The answers to these questions will determine whether this production was a one-off success or the beginning of a new era for the Eastern Cape and IsiXhosa language productions. There is an opportunity here to reflect, learn, and plan for a more sustainable future where local talent is nurtured, local economies benefit, and South Africa’s rich diversity of languages and cultures is celebrated on screen.

The key will be ensuring that the infrastructure, skills, and passion ignited by Gqeberha: The Empire do not fade away but are carried forward into new, exciting, and sustainable opportunities for the Eastern Cape and beyond.

Thamsanqa AkaMbongo Manzana
thami@akambongo.co.za
AkaMbongo Foundation Pty Ltd
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.