Let’s help SA artists, they deserve to survive

I’m all for the development of the South African entertainment industry, even though I don’t personally know what it means to be an artist. The local quota rules of the SABC of 90% and 80% has been a welcome relief to members of an industry dominated by American artists whom the public have uncritically come to take as a measurement of success. But are quotas enough? We should feel the hurt felt by our artists who plough on with their hard work only for us to still opt for the latest Beyonce or Nicki Minaj single, regardless. A success for…

I’m all for the development of the South African entertainment industry, even though I don’t personally know what it means to be an artist.

The local quota rules of the SABC of 90% and 80% has been a welcome relief to members of an industry dominated by American artists whom the public have uncritically come to take as a measurement of success.

But are quotas enough? We should feel the hurt felt by our artists who plough on with their hard work only for us to still opt for the latest Beyonce or Nicki Minaj single, regardless. A success for Black Coffee, Cassper Nyovest, Lira, and even Joyous Celebration is a win under the South African flag.

But somehow, repeatedly, we choose to fly the American flag, even imitating American life. And all the while we have the talent and the potential to shine like the brightest stars. There still remains one big problem for most artists of our beloved country.

The fruits of their labour, no matter how big or small just does not reach their pockets in a way that can cover them when rainy days arrive. The proximity to the danger of poverty in which they live leaves one wondering.

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What about those children who hone their skills in drama and broadcasting schools, eager to dazzle us with their faces? Yet on every channel, you see the same old faces, on every frequency it is still the same voices. There is no space for newcomers.

You must literally know someone in the entertainment industry to break in – or remain an extra forever. And in their twilight years, so go some of the artist stories we hear – such as those of Bonginkosi “Zola 7” Dlamini – they come to be in need of “being saved” by the public, be it by their own requests or as a kind gesture by someone on behalf of them.

Possibly it is because there is not enough financial literacy among artists or a mismanagement of their funds. Possibly because their remuneration is not enough. Something has got to change.

When we help, let us do so in the spirit of Ubuntu … until our attitudes and the financial maladministration of our artists end.