IN CONVERSATION WITH THE FOUNDING EDITOR OF THE CREATIVE PASSPORT
TUESDAY EDITION | PROFILE/ INTERVIEW
As The Creative Passport launches its Profiles & Interviews segment, we begin by turning the lens inward — not in self-promotion, but in transparency. This conversation introduces the Founding Editor, his journey within South Africa’s Cultural and Creative Industries, and the thinking behind the establishment of this platform.
Can you tell us about your journey within South Africa’s Cultural and Creative Industries, and how it has shaped your perspective as a practitioner and writer?
My journey in the Cultural and Creative Industries began in the early 1990s at a community level. I was part of a dance crew, NWA, in Mbekweni, Paarl, under the leadership of Tilili Godlo. Through this work, I was introduced to Sons and Daughters Dramatic Organisation (SADDRO), led by the late Michael Mahlubandile Ndlovu — may his soul continue to rest in peace.
Working within communities at that time gave me an early understanding that the arts are not only about performance, but are powerful tools for community development, education, and social reflection.
In 1998, through SADDRO, I encountered the late Simba Pemhenayi — may his soul rest in power — who later also became my teacher at the Community Arts Project (CAP). Simba introduced me to arts activism and insisted that artists should never be apologetic about their role in society. Through him, I learned deeply about Community Theatre, its methodologies, and its distinctions — from Community Theatre in Development, for Development, and with Development. These frameworks continue to shape how I think about art and its purpose.
After CAP, I enrolled at the University of Cape Town, albeit with some scepticism. Simba often warned us about how institutions can “capture” artists. Yet UCT broadened my understanding of theatre practice — from South African theatre traditions to Greek, Japanese theatre, Shakespeare, and the works of practitioners such as Stanislavski, Peter Brook, and Augusto Boal. I became deeply grateful for the academic grounding it provided.
Throughout my studies, my commitment to community development never stopped. I continuously returned to communities to share, support, and apply what I was learning academically. I graduated in 2001 and soon began earning a living through professional television and theatre work — a realisation that passion and sustainability can coexist in this field.
My professional journey later intersected strongly with arts administration. While performing in Lara Foot’s Karoo Moose, I was surrounded by exceptional artists and engaged in discussions about the future of theatre in Cape Town. When Lara Foot was appointed Artistic Director and CEO of the Baxter Theatre Centre, myself, the late Zoleka Helesi, and Bongile Mantsai were entrusted with running the Baxter Theatre Development Programme.
Having been involved in the Ikhwezi Theatre Festival since 1998 under the leadership of Itumeleng Wa-Lehulere, I later became Artistic Director of the Zabalaza Theatre Festival from 2010 to 2017. The foundation we laid during those years continues to sustain the festival today — something I remain deeply proud of.
Alongside practice and administration, writing has always been central to my work. Since 1998, I have contributed articles to Artslink, documenting, questioning, and reflecting on developments within the sector. Even today, I consider myself a learner — still exploring, still engaging, and still deeply invested in the Cultural and Creative Industries of South Africa.
You have worked across performance, writing, directing, and arts administration. How have these experiences influenced your understanding of the sector?
The lesson is simple: never stop.
I have experienced the good, the bad, and the ugly of this industry. I have been a poor performer, an uncertain writer, a struggling director, and an inexperienced arts administrator. But I never stopped learning. I kept going, refining, reflecting, and growing.
This sector demands humility and resilience. I have never worked outside the Cultural and Creative Industries — and perhaps that is why I am so deeply invested in its future. Even if the work we do today benefits generations after us, it still matters.
What motivated the establishment of The Creative Passport as an independent online media publication?
For over two decades, writing for Artslink gave me space to reflect critically on issues affecting the sector. Alongside this, I attempted earlier digital projects, including a YouTube initiative titled State of the Arts with Thami Mbongo, which at the time I did not yet fully understand.
I also authored a manuscript titled Creative Passport: Your Guide to Cultural Institution Acts, which I still hope to officially launch.
A pivotal moment came through conversations with Mr Arthur Mafokate, who recognised my passion for the arts and encouraged me to think independently about media ownership. This led to the podcast ArtsTalk under The Lifestyle League — a space where I continue learning, particularly about the business side of the industry.
When I reflected on all this — my writing, podcasting, activism, and the glaring lack of dedicated arts media coverage — the decision became clear. The Creative Passport was born to formally occupy that gap.
While resources were limited, I chose to begin where possible — starting on Blogspot, with the intention of growing into a fully fledged media platform over time. Every credible institution starts somewhere.
Why do you believe there is a gap in consistent arts and culture journalism in South Africa today?
Dedicated arts platforms like Artslink are few. Arts coverage is often overshadowed — even during government briefings, where sport dominates airtime while arts receive minimal attention.
Many productions, especially in alternative and community spaces, go undocumented and unreviewed. Yet arts criticism and journalism are essential — not only for historical record, but for artists to demonstrate impact to funders, policymakers, and audiences.
The Creative Passport seeks to contribute meaningfully to filling that gap.
As the Founding Editor, how do you balance advocacy with ethical and independent journalism?
This is a learning process. To demonstrate our commitment, we have already engaged with the Press Council of South Africa to understand the standards required of ethical media. We are using this foundational period to align our editorial policies, complaints procedures, and governance structures accordingly.
Advocacy must coexist with accountability. Our commitment is to fairness, transparency, and responsible storytelling — without silencing critical voices.
What editorial values guide The Creative Passport?
We are guided by Press Council principles, ethical journalism standards, and respect for diverse perspectives. While the platform allows space for robust debate and political discourse, we are equally committed to balance, correction mechanisms, and open engagement with our audience.
How important are education, skills development, and institutional memory in strengthening the sector?
Education is central. I personally hope to return to formal study in 2026. In this industry, learning never stops. Skills development, historical awareness, and institutional memory are critical to sustaining the Cultural and Creative Industries.
What role should media platforms play in connecting practitioners, policymakers, and the public?
Media must create uncensored yet respectful spaces. Disagreement is healthy when grounded in mutual respect. Platforms should connect voices, demystify policy, and ensure practitioners understand the systems that govern their work.
What is your vision for The Creative Passport over the next three to five years?
The vision is to build a credible media house — one that creates employment, houses a strong editorial team, and serves as a trusted voice for the sector. This must be a led revolution, changing how arts and culture are documented, discussed, and valued.
What message would you like to share with practitioners, organisations, and young creatives?
Be part of history in the making.
Follow the platform. Engage with us. Contribute your knowledge, skills, and experiences. Tell us what works and what doesn’t. Advocate for the Cultural and Creative Industries — together.
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