By Thami AkaMbongo Manzana, Guest Writer
For nearly five decades, the National Arts Festival (NAF) in Makhanda has stood as a vital and enduring cultural institution in South Africa. It is a space where artists, thinkers, dreamers, and doers gather in celebration of creativity, innovation, and the human spirit. It has given us unforgettable performances, launched the careers of many remarkable South African artists, and fostered important national and international cultural dialogues.
We must take a moment to salute the visionary curators, producers, and organisers – past and present – who have worked tirelessly to sustain this platform. In the face of complex challenges, they have continued to create space for artistic excellence and engagement.
This article is not a criticism. It is a curious, respectful invitation to rethink – to ask ourselves if South Africa is now ready to complement what exists with something new. A space that is built not to compete, but to collaborate and complete the national cultural puzzle.
A national arts festival that speaks with everyone
South Africa is made up of nine provinces, 12 official languages, and a wealth of diverse traditions, rituals, and storytelling practices. While the current National Arts Festival opens its arms to many, can we truly say that every province and language is consistently represented? Is there a need for an additional platform, a festival that is designed intentionally from the ground up to reflect every province, every language, and every cultural nuance, not as guests on the stage, but as owners of the stage?
Could we imagine a complementary National Arts Festival – distinct from Makhanda’s legacy – but existing alongside it, drawing from the same well of talent but rooted in a different model of inclusion, equity, and provincial representation?
Difficult but important questions we must ask
What would a South African National Arts Festival look like if each province curated its own contribution through local mini-festivals or showcases?
How do we ensure that every official language is not just translated but actively performed, celebrated, and heard through the arts?
Can our current national structures and funding mechanisms accommodate more than one major national arts celebration without dividing resources – or can they be aligned to serve more?
What does it mean for artists from underrepresented regions to access national platforms, and who decides what “national representation” actually looks like?
Do we need to rethink how provinces are empowered to take ownership of their role in shaping a national cultural identity?
These are not easy questions. But they are essential if we are serious about building a truly inclusive creative ecosystem.
Learning from what works
There is much to learn from the existing Afrikaans festivals, such as KKNK, Innibos, and Aardklop. These are curated with cultural intent and pride in language, attracting both audiences and sponsorship. Their strength lies not just in the art on stage but in how the festival reflects and serves a particular community with deep cultural authenticity.
Similarly, the Makhanda festival has carved out a legacy of national importance, with a rich blend of works, panels, exhibitions, and street culture. Its curation has evolved, and it continues to adapt and respond to the changing South African landscape.
So the question is: can a new festival be created that draws inspiration from all of this – and offers a parallel space that fills the existing gaps?
A vision of complementarity, not competition
What we’re proposing here is not an alternative, but an additional voice. A second national stage that does not displace, but uplifts. That is shaped from the ground up – provincially, linguistically, culturally – and that feeds into a national tapestry.
This vision calls for:
- Provincial ownership: Every province curates its own regional content through mini-festivals.
- Linguistic pride: Artists are encouraged to create and perform in their own languages, with national support.
- Collaborative frameworks: Rather than competing, festivals collaborate to map out a calendar that gives space and visibility to all.
- Public and private partnership models: Funding is diversified across government, business, and community stakeholders.
Toward a South African festival future
We are not saying the Makhanda-based National Arts Festival has failed. On the contrary, it has succeeded so well that it should inspire us to do more – to be bolder, more inclusive, and more representative.
Maybe it’s time for the Department of Sport, Arts and Culture, together with provincial departments and industry players, to host a national dialogue about the future of South African arts festivals. A dialogue that doesn’t just focus on sustainability but also on equity, access, and meaningful cultural representation.
Because in the end, a National Arts Festival should reflect the nation – every part of it.
Let us not wait until voices grow weary from exclusion. Let us build in unity, in dialogue, and with vision. Not to erase what exists, but to expand what is possible.
The future of South Africa’s arts festival scene can be as layered, beautiful, and diverse as our people – if we dare to rethink, together.
Reprinted with permission from Thami AkaMbongo Manzana
akambongo@gmail.com
AkaMbongo Foundation
https://www.akambongo.co.za
