MAJOR FESTIVAL FUNDING
Minister Gayton McKenzie: Defends Cuts to Major Festival Funding, Outlines Transition Plan.
By Paul Noko
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Asinamali: a play tells the story of five black prisoners who tell the stories of their lives and their road to prison under the apartheid regime. It was inspired by events that surrounded the 1983 rent strike in the Lamontville township, led by the martyred activist Msizi Dube. In the current leadrship we told stories how prison shaped the thinking of decisions made that affect the creative industry. Hearing the minister one can only say Asinamali.
Minister Gayton McKenzie of the Department of Sports, Arts and Culture has reaffirmed the government's decision to reduce funding for major cultural festivals, including the National Arts Festival, KKNK, CTIJF, and Aardklop. The move, announced in 2025, aims to promote financial independence among arts organizations and shift resources toward emerging and rural promoters.
In a recent statement, Minister McKenzie emphasized that these festivals must become self-sustainable and cannot rely on perpetual government support, which he described as a "birthright." "Our goal is to empower these festivals to stand on their own two feet," he said. "Funds should be redirected to support new voices and rural promoters who are vital to diversifying our cultural landscape."
The department has outlined a transitional framework to manage this shift. Key elements include the gradual reduction of festival funding over the next three years, coupled with the rollout of new support programs aimed at fostering local and rural arts initiatives. Among these initiatives is the Rural Arts Development Program, launched earlier this year, which provides grants and capacity-building resources to grassroots arts promoters in underserved areas.
Department officials also announced the establishment of the Emerging Festivals Fund, designed to support small-scale festivals and events in regions lacking established cultural infrastructure. These programs are intended to complement existing arts development strategies and ensure a smooth transition for festivals currently reliant on government funding.
However, the policy has drawn criticism from various quarters, including opposition parties and event organizers. Critics warn that the funding cuts could lead to significant job losses within the arts sector and negatively impact local economies that rely heavily on festival tourism.
"These festivals are more than just cultural events; they are economic engines for our towns," said a spokesperson for the National Arts Festival. "Cutting funding without a clear, supportive transition plan risks destroying livelihoods and eroding our cultural heritage." Interview with City press (04.04.2026)
Multiple media outlets have confirmed the quotes and provided in-depth analysis of the policy's implications. Experts and stakeholders are calling for more detailed planning and transparency, urging the department to accelerate the rollout of its new programs and establish clear benchmarks to measure success.
As the debate continues, questions remain about whether the department’s transition strategy will truly help the arts flourish or inadvertently suffocate them. Will the new programs foster genuine sustainability, or will the shift lead to economic and cultural setbacks?
The coming months will reveal how effectively the department’s plans are implemented. Moreover, there is growing concern about whether the department’s approach, under the guise of supporting the arts, might simply centralize control reducing arts to mere event management with American artists, like Doja Cat, taking center stage. Some critics argue that this could marginalize local talent and cultural expression in favor of commercialized, globalized acts that prioritize profit over authenticity.
As previously noted, artists like Doja Cat are on their way to making significant dollars, raising questions about whether the local arts scene will be left behind or integrated into a broader, more profitable entertainment industry. Will genuine support for local arts remain, or will it be overshadowed by the pursuit of big-name international stars and commercial interests? Only time will tell whether the department’s policies will uplift or suffocate South Africa’s rich and diverse cultural landscape.
ABOUT PAUL NOKO
Paul Noko is a South African theatre-maker, director, playwright, and dramaturge educated at the University of the Witwatersrand, where he obtained a Master’s degree in Applied Drama and Theatre in Education and an Honours degree in Cultural Policy and Indigenous Theatre. His work bridges community development, education, and performance, with a strong focus on authentic South African storytelling.
He is best known for his acclaimed one-hander Fruit, which received multiple nominations at the Naledi Theatre Awards and earned a Standard Bank Silver Award at the National Arts Festival. His work has toured internationally, and he is frequently invited to contribute to global webinars and playwrighting symposiums.
A former student and practitioner at the Market Theatre Laboratory, Noko has directed, written, and performed in numerous award-winning productions. He was nominated for the Fleur du Cap Theatre Awards and received the John Kani Award for excellence in community theatre directing.
Through his company, Sketch Productions, Paul continues to mentor young performers in Soweto, contributing to the growth and sustainability of community theatre in South Africa.
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