When Communication Breaks Down, Redress Must Still Be Possible Today is the final day for appeals for the National Arts Council (NAC) Presidential Employment Stimulus Programme 6 (PESP 6) funding. Beyond the deadline itself, this moment invites a deeper reflection on why appeal mechanisms exist and why they must be exercised responsibly — by both applicants and institutions. At its core, an appeal is not an act of defiance. It is an act of engagement. In everyday life, misunderstandings often escalate when assumptions replace dialogue.  Messages are interpreted emotionally, intentions are questioned, and relationships fracture — not always because harm was intended, but because clarity was lost along the way.  Public funding processes are no different. Appeals Exist Because Human Error Exists The NAC’s mandate recognises a simple truth: public institutions are run by people, and people can make mistakes. Miscommunication, administrative oversight, incorrect assumptions, or inc...

  Ministers come and go. What remains is the impact they leave behind — and the precedents they set. South Africa has seen many political rises, some meteoric, some carefully calculated.  Gayton McKenzie’s ascent into the national executive — particularly into a portfolio responsible for Social Cohesion and Nation Building — is one of the most debated appointments of the current political era.  To some, it signalled disruption and fresh energy. To others, it was a warning sign disguised as bold leadership. The truth, as always, lies in the questions we ask — and the patterns we observe. Understanding the Rise: Power, Performance, and Popularity Gayton McKenzie’s political rise did not happen in a vacuum. It was built on: A confrontational political style Clear populist messaging A willingness to say what others avoid Strategic positioning ahead of 2026 and 2029 elections His leadership within his own political party has shown a centralised, personality-driven model of po...

  Rethinking the Funding Narrative in South Africa’s Cultural and Creative Industries One of the most persistent—and damaging—notions in South Africa’s cultural and creative industries is the idea that artists are “too dependent on funding.” It is a phrase repeated casually in policy rooms, media commentary and even within the sector itself. But rarely is the same scrutiny applied across the entire cultural ecosystem. This raises a fundamental question: who in this system truly depends on subsidy—and why is the burden of that label carried almost exclusively by artists and practitioners? The Selective Critique of Dependency Artists are often portrayed as reliant, fragile, or unsustainable when they apply for public funding. Applications are framed as handouts, support as charity, and dependence as failure. Yet, in the very same ecosystem, numerous government-funded cultural entities have existed for decades almost entirely on state subsidy. National theatres, councils, academies, m...

  Intellectual Property Theft, Authorial Experience, Protection Mechanisms, and the Copyright Amendment Bill This interview centres on the lived experience of author Kentse Badirang, examining the personal, professional, and structural implications of intellectual property theft, as well as companies' legal reform and creator protection within South Africa’s cultural and creative industries. As an author, can you describe your personal experience with intellectual property theft and how it has affected you both professionally and emotionally? I experienced Intellectual property theft firsthand when I discovered that my Setswana manuscript, titled Molayakgosi , had been published and launched for a 13-year-old girl in Kurumane in the Northern Cape.  It was launched by the Department of Sports, Arts and Culture (DSAC) in collaboration with the Marang Career Center, which was reportedly the NPO that discovered the child.  It was launched on the 10th of May 2024.  I was ...

Why Sibongile Mngoma matters? Some leaders are defined by titles. Others are defined by how they treat people when no one is watching. This Tuesday Edition is an appreciation of Sibongile Mngoma not because of position alone, but because of character, courage, and consistency.  In an industry that remembers your past more than it recognises your potential.  In a dog-eat-dog sector that often celebrates downfall more than growth, this is a moment to pause and say: leadership that sees people fully still matters.           Image  Source: Sibongile Mngoma  Can you briefly share your professional journey and how you found your way into the Cultural and Creative Industries? I was born into it.        Image  Source: Sibongile Mngoma What key moments or decisions have shaped your career path and growth within the sector? Career path was shaped by other people's opinion of what they called " my talent" .  Growth was shap...

  MONDAY EDITION |  UMRHABULO, POLICY & PUBLIC DISCOURSE Rethinking the Role of Academics in the Cultural and Creative Industries By Thami akaMbongo Manzana  South Africa does not suffer from a lack of research, data, or intellectual capacity in the Cultural and Creative Industries. What we suffer from is a failure to place knowledge at the centre of decision-making, activism, and sector reform. We need passionate academics to take centre stage — not as background consultants, not as footnotes in reports, but as active advocates for the betterment of the Cultural and Creative Industries. The uncomfortable question is: why are they so often sidelined? When Institutions Use Academics Selectively Institutions know exactly how to use academics when it suits them. They are consulted when: • Data is needed for Parliament • Reports are required for Treasury • Monitoring and evaluation must be justified • Policy documents need academic weight But how often are academics truly...

A Necessary Transition, A Serious Commitment The transition from Blogspot to our own domain is more than a technical upgrade. It is a clear statement of intent. For The Creative Passport, moving from a free blogging platform to a dedicated domain signifies our serious commitment to building a credible, independent, and accountable online media publication focused on the Cultural and Creative Industries in South Africa. We would like to begin by thanking everyone who has supported the platform since its early days — readers, practitioners, artists, cultural workers, policymakers, researchers, organisers, critics, and even those who have challenged us.  Every read, share, comment, disagreement, and engagement has helped shape what this platform is becoming. This transition would not have meaning without the community that has grown around the work. Why the Move Matters Moving from Blogspot to a dedicated domain is not about aesthetics or status. It is about credibility, ownership,...