CREATIVES CAMPAIGNING FOR STRATEGIC POSITIONS IN THE POLITICAL ARENA
IS IT FINALLY TIME FOR THE CULTURAL AND CREATIVE INDUSTRIES TO OCCUPY THE SEATS OF POWER?
By Thami akaMbongo Manzana
For decades, South Africa's Cultural and Creative Industries have consistently argued that one of the greatest challenges facing the sector is that decisions affecting artists are often made by people who have never lived the realities of being an artist.
From funding models and labour conditions to intellectual property, education, infrastructure and social protection, the question has always been the same:
Who is making these decisions, and do they truly understand the lived experiences of creatives?
As South Africa approaches the Local Government Elections on 04 November 2026, an interesting political development is unfolding.
Writer, poet and cultural activist Ntsiki Mazwai has been announced as the mayoral candidate for the Land Party in the City of Johannesburg.
At the same time, arts practitioner Tshepo Mashiane has been announced by ActionSA as its MMC candidate for Sport, Arts and Culture in the City of Johannesburg.
Whether one agrees with their politics or not is almost secondary to the much bigger conversation.
Perhaps the real question is:
Are we witnessing the beginning of creatives intentionally occupying strategic positions of political power?
The Longstanding Complaint
For years, artists have complained that Ministers, MECs, Mayors, MMCs, Directors-General, Heads of Department and senior government officials responsible for Arts and Culture often come from outside the sector.
Many arrive with political experience.
Very few arrive with industry experience.
The result?
Policies that sometimes misunderstand the realities of creative work.
Funding systems that frustrate practitioners.
Economic strategies that fail to appreciate how cultural value translates into economic value.
Consultation processes that often feel symbolic rather than transformational.
The frustration has never simply been about personalities.
It has always been about representation.
Is Political Office the Missing Piece?
Perhaps creatives have been asking the wrong question all along.
Instead of asking why politicians do not understand artists...
Should artists become politicians?
Should creatives intentionally campaign to become councillors, Members of Provincial Legislatures, Members of Parliament, MMCs, MECs, Mayors and eventually Ministers?
If laws are made in council chambers, legislatures and Parliament...
Shouldn't creatives also be there?
Africa Has Already Shown It Is Possible
This conversation is not unique to South Africa.
Across Africa, respected musicians and creatives have crossed into politics.
In Uganda, Robert Kyagulanyi Ssentamu transformed from one of the country's biggest music stars into a Member of Parliament before becoming one of the leading opposition presidential candidates.
In Zimbabwe, Albert Nyathi has long demonstrated how poets can influence national conversations around identity, heritage and governance.
Across the continent, artists increasingly understand that culture is not only performed on stages, it is also negotiated in boardrooms, municipal councils and national legislatures.
Beyond Africa
Globally, entertainers have also demonstrated that creative careers can become pathways into political leadership.
Volodymyr Zelenskyy moved from television and comedy into the presidency of Ukraine.
In the United States, Ronald Reagan transitioned from a successful acting career to become Governor of California before serving as President.
While every country's political context differs, these examples demonstrate that creative backgrounds do not prevent individuals from occupying the highest offices in government.
The question is whether South Africa is prepared to embrace a similar evolution.
Parliament Already Has Practicing Creatives
Interestingly, this transition is already happening.
Within the Parliamentary Portfolio Committee on Sport, Arts and Culture, practitioners such as Eugene Mthethwa of the EFF and Gift Motaung of the MK Party bring firsthand experience of the cultural sector into legislative discussions.
This raises another important question.
As political parties continue recruiting artists, musicians, actors, writers and cultural practitioners...
Will those same parties eventually trust them with executive authority?
Could South Africa one day have a Minister of Sport, Arts and Culture who has spent decades earning a living as an artist?
Or will political loyalty continue to outweigh sector expertise?
Local Government Could Become the Testing Ground
Perhaps municipal government is where this transformation begins.
If parties such as the Land Party and ActionSA perform well in Johannesburg, could we realistically see creatives occupying influential positions within the city's administration?
Imagine councils where cultural practitioners influence urban development.
Imagine integrated development plans that treat theatres, libraries, creative hubs and public art as economic infrastructure rather than optional luxuries.
Imagine municipal budgets recognising culture not as entertainment alone, but as an industry capable of creating jobs, attracting tourism and building social cohesion.
Would governance look different?
Should Creatives Vote for Creatives?
This may be the most uncomfortable question of all.
Should artists vote for fellow creatives simply because they come from the sector?
Or should political ideology remain the deciding factor?
If an artist belongs to a political party whose broader policies you fundamentally disagree with...
Do you still support that individual because they understand the Cultural and Creative Industries?
Or do you vote according to your political convictions?
Perhaps the answer is neither simple nor universal.
Being an artist does not automatically make someone an effective public representative.
Likewise, not every politician from outside the sector lacks the ability to champion arts and culture.
The real test is competence, integrity, vision and accountability.
Manifestos Matter
Before voting, perhaps creatives should resist being persuaded by familiar faces alone.
Instead, they should interrogate political manifestos.
Which party has a clear Cultural and Creative Industries strategy?
Which party commits to expanding arts education?
Which party understands the creative economy?
Which party speaks about fair remuneration, copyright reform, social protection and infrastructure?
Which party views culture as an investment rather than an expense?
Perhaps creatives should vote less emotionally and more strategically.
Beyond One Election
This conversation extends far beyond the 2026 Local Government Elections.
It asks whether the Cultural and Creative Industries are prepared to invest in political leadership over the long term.
Who is mentoring future creative politicians?
Who is encouraging young artists to study governance, economics, public administration and law alongside their artistic practice?
Who is preparing the next generation of Ministers, MECs, Mayors and councillors from within the creative sector?
If creatives are serious about changing policy, perhaps they cannot remain permanent lobbyists outside the room.
Perhaps they must become the people sitting around the decision-making table.
The Final Question
As South Africans prepare to vote on 04 November 2026, perhaps creatives should pause before asking,
"Who is speaking for us?"
Instead, maybe a more powerful question is:
"Who among us is prepared to lead?"
Because history reminds us that policies are rarely changed by those standing outside the room.
They are often rewritten by those courageous enough to enter it.
And perhaps the Cultural and Creative Industries have reached a moment where representation is no longer enough.
Perhaps it is time for governance.
Perhaps it is time for creatives not only to perform on the nation's stages but also to help shape the nation's future.
.jpeg)
Comments