Over the past three months, I have had the privilege of participating in conversations across South Africa and internationally, from Geneva and London to Gqeberha and Johannesburg. Although the settings differed, one observation remained remarkably consistent: The conversation about the creative economy has changed.
It has been 16 long years since South African soccer was represented on the global stage by taking part in the FIFA World Cup. The last time the country took part was in 2010, when South Africa automatically qualified by virtue of hosting the tournament, a momentous occasion as the first African nation to do so.
Three streaming piracy sites now generate more monthly visits than any licensed South African platform. This is not a global statistic. This is happening right now, today, in our creative economy.
South Africa hosts a wide array of sporting events, ranging from local community competitions to internationally televised tournaments, with the sector generating significant economic activity. With a growing emphasis on accountability and value for money, government bodies, event organisers, and sponsors increasingly seek to understand how these events contribute to regional economies.
What if your next paycheque came from a 60-second video, a podcast recorded in your bedroom, or a cooking tutorial filmed on your phone? For a growing number of South Africans, this is no longer just a possibility, it is a career.
June 16, 1976, will forever be remembered for the courageous actions taken by the youth to confront the injustice of Apartheid. The students of Soweto took to the streets to protest the imposition of Afrikaans as a medium of instruction, and their bravery ignited a fire that would eventually help dismantle an oppressive regime.
CaribbeanTales Media Group has entered a new partnership between the Cross Continental Forum (CCF) and the South African Cultural Observatory (SACO), as CCF expands into a year-long international lab connecting Black and Global Majority producers across Africa, the Caribbean, Canada, the UK, Europe, and the wider diaspora.
EUNIC – European Union National Institutes for Culture has launched the second edition of the Spaces of Culture call for proposals. Part of the Africa-Europe Partnerships for Culture programme (European Commission, DG INTPA), the call will support seven new cultural relations projects in Sub-Saharan Africa. The 2026 call focuses on projects that: • Are based on equal partnerships and local ownership • Bring together local organisations, EUNIC members, and EU Delegations • Promote dialogue, co-creation, and joint capacity building
Across South Africa, festivals have evolved into far more than moments of entertainment; they are engines of economic activity, cultural preservation, and social cohesion.
This year’s Human Rights Month coincided with the celebration of 30 years of the adoption of the Constitution.
Maps. Masterclasses. Measurement. Meaning. March. This quarter has been all about activating the research trove and expertise of the South African Cultural Observatory and levelling up in the dissemination of our data and insights.
South Africa’s cultural, creative and sports industries (CCI&S) are far more than platforms for artistic expression and entertainment. They are a growing economic force that contributes meaningfully to national development, job creation, and global cultural influence.
