URGENT OVERHAUL & LEADERSHIP
The Compromised State of South Africa's Department of Sport, Arts and Culture: A Call for Urgent Overhaul and Leadership by Industry Experts
By Farook Mohammed
Image Source: Farook Mohammed
As a dedicated artist, activist, and Pan-Africanist deeply embedded in South Africa's cultural landscape, I have watched with growing alarm as the Department of Sport, Arts and Culture (DSAC) under Minister Gayton McKenzie has descended into a state of profound compromise.
Appointed in July 2024 amid the formation of the Government of National Unity, McKenzie's tenure has been marred by controversies that undermine the very essence of artistic freedom, transparency, and equitable support for creatives.
Far from fostering the social cohesion and creative excellence the department is mandated to promote, his leadership has amplified divisions, stifled voices, and prioritized political patronage over the needs of artists.
This is not mere mismanagement; it is a systemic compromise that demands immediate action; starting with McKenzie's removal and a complete overhaul led by seasoned professionals from the industry itself.
At the heart of these issues lies a pattern of interference and favoritism that has left artists suffering.
Image Source: Facebook
One of the most egregious examples is the Venice Biennale Pavilion cancellation saga, which exemplifies the department's assault on artistic independence. In early January 2026, McKenzie abruptly halted South Africa's participation in the prestigious 2026 Venice Biennale, scrapping the selected work Elegy by the extraordinary artist Gabrielle Goliath.
This powerful piece, curated by Ingrid Masondo, confronts femicide and anti-queer violence in South Africa while drawing parallels to historical genocides and the ongoing crisis in Gaza; themes that resonate deeply with global struggles for justice.
McKenzie's rationale, citing "divisive" content and unsubstantiated fears of foreign interference (initially linked to geopolitical messaging about Israel), reeks of censorship and political overreach. It violates Section 16 of our Constitution, which safeguards freedom of expression and artistic creativity, and breaches the arm's-length principle designed to insulate creative decisions from governmental meddling.
Image Source: Farook Mohammed
I stand unequivocally in support of Gabrielle Goliath, whose work embodies the transformative power of art to challenge injustices and foster cultural reckoning.
As an artist myself, blending Pan-Africanist narratives with Afro-Arabian influences to highlight parallels between apartheid's legacies and contemporary occupations like those in Palestine, I recognize in Goliath's Elegy a fearless commitment to truth-telling. Her legal challenge in the Gauteng High Court; seeking reinstatement before the Biennale's February 18, 2026, deadline, deserves the full backing of the creative community.
This saga is not just about one exhibition; it's a constitutional crisis that signals to artists worldwide that South African creativity is now subject to ministerial whims. If allowed to stand, it sets a dangerous precedent, silencing voices that dare to address uncomfortable realities.
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Image Source: DSAC
Compounding this is the Mzansi Golden Economy (MGE) funding allocation controversy, another damning saga that exposes the department's compromised integrity. Under McKenzie, established arts festivals; such as the National Arts Festival, Klein Karoo Nasionale Kunstefees (KKNK), Woordfees, Suidoosterfees, Cape Town International Jazz Festival, Cape Town Carnival, Innibos, Aardklop, Vrystaat Kunstefees, and Open Book Festival, have been systematically defunded.
These cultural pillars, which generate jobs, drive tourism, and nurture talent, were directed to apply through the MGE open call process, only to face widespread rejections.
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Image Source: Patriotic Alliance Meanwhile, over R109–110 million in grants have flowed disproportionately to entities allegedly tied to McKenzie's Patriotic Alliance (PA) party, including newly registered groups and those with PA-affiliated adjudicators and this reeks of political patronage and cadre deployment, along with accusations of conflicts of interest flying amid a lack of transparency in recipient lists and panel compositions.
Artists and organizers have reported devastating impacts: event cancellations, thousands of job losses, and billions in lost economic revenue. McKenzie's repeated dodging of parliamentary questions; despite probes by the Portfolio Committee on Sport, Arts and Culture further erodes trust.
This is not transformation; it's destabilization, where public funds meant to uplift the creative sector are weaponized for political gain. The suffering of artists is palpable, from delayed payments (some dating back to 2024 approvals) to the erosion of independent ecosystems that have sustained South African culture for decades.
Image Source: DSAC
These sagas; the Venice Biennale censorship and MGE favoritism illustrate a department compromised at its core, where political expediency trumps artistic integrity and equitable development.
McKenzie's brash, populist style may appeal to some, but it has polarized the sector, alienating stakeholders who see his actions as antithetical to nation-building and cultural diversity.
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My solution is clear and urgent: Gayton McKenzie must be sacked, and the DSAC requires a comprehensive overhaul. Leadership should not rest with politicians prone to interference but with professionals from the industry; individuals with genuine influence, deep connections, and proven expertise in arts and culture. These experts, unburdened by party loyalties, can restore arm's-length independence, ensure transparent funding processes, and prioritize redress and innovation.
Creatives must demand a department headed by seasoned curators, festival directors, and artist-activists who understand the sector's pulse; only then can we rebuild a vibrant, inclusive creative landscape that truly serves people of African descent and beyond.
Image Source: Farook Mohammed
About the Author: Farook Mohammed
Farook Mohammed is a contemporary visual artist, author, industry influencer, and activist whose work reimagines Africa through Pan-Africanist lenses, blending cultural reckoning with themes of liberation and solidarity (including parallels to the Palestinian struggle).
His accolades include being listed in the MIPAD (Most Influential People of African Descent) Global Top 100 under the Afrofuturism and Creative category, celebrated at the close of the United Nations International Decade for People of African Descent (2015–2024).
He serves as the Speaker of the Northern Areas in Gqeberha, Nelson Mandela Bay, for the Pan Africanist Congress (PAC), where he advocates for land reclamation and Africanist principles in action.
As director of the Afro Arabian Empire gallery and studio in Gqeberha, he curates exhibitions that unite Afro-Arabian influences with South African narratives, fostering global dialogues on heritage and resistance.
Farook's roles extend to being a powerful global influencer, outspoken critic of systemic injustices in the arts, and a champion for artist-led reforms in cultural governance.
Follow his work on Instagram (@farook_mohammed.official or @afroarabianempire) for insights into his available artworks and statements.
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