Platforms like OnlyFans are reshaping how South Africa’s youth navigate money and survival.
A growing number of the country’s youth are turning to online platforms to earn a living through adult entertainment.
Agencies are cropping up to help OnlyFans creators plan their content, manage their money and taxes.
Entering the industry is not a decision to be taken lightly, and big paydays are few and far between.
Work usually done under the cover of darkness, on dimly lit streets has now found a new avenue online. A ring light, Wi-Fi connection and a whole lot of hustle are the tools of a new generation entering sex work. Behind these profiles are young entrepreneurs navigating risk and profit, while trying to survive in Ramaphosa’s economy.
Naked ambition fuels a new era
Just as other industries have adapted to the digital age, the sex trade has also evolved. One platform has brought it into the mainstream – OnlyFans. Ironically, the app didn’t begin as the adult entertainment mecca it is today. Launched in 2016, founder Timothy Stokely envisioned OnlyFans as a place where audiences could financially support creators like singers, actors, and artists through tips or monthly subscriptions. The app sought to democratise the entertainment industry, cutting out middlemen that took a chunk out of creatives’ earnings. OnlyFans boasted over 30 million users in 2020, and has paid out over $5 billion (R87 billion) to creators to date.
For much of the late 2010s, OnlyFans became the site of an adult entertainment ‘gold rush’, with thousands flocking to claim their share of the spoils. However, like the gold rushes of yesteryear, not everyone who showed up, shovel in hand, would walk away a millionaire. Only a handful of creators struck it big, many of whom had sizeable fanbases before joining the platform. Still, that hasn’t stopped hundreds of young people in South Africa from joining OnlyFans to try their luck or simply make a little extra money to survive.
SA creators turn clicks into cash
Hoes and CEOs, a Cape Town-based OnlyFans talent management agency, was founded by former sex worker Rhiannon Gouws in February 2025. Gouws turned to OnlyFans after three years of “traumatising” sex work that led to her being hospitalised in a mental health facility. “It tore my soul into tiny pieces that I had to pick up and I’m still picking them up to this day, but I am so much better than I was,” she told her nearly 9,000 Tik Tok followers.
“Unfortunately, healing does not pay the rent, so I created an OnlyFans [account],” Gouws said. After working with four different managers, a pattern emerged – they were making more money off her body than she was. “I didn’t start Hoes and CEOs to be a boss. I started Hoes and CEOs because I didn’t want women to be managed by men,” she explained.
Gouws says the company isn’t a money grab or a lifestyle brand. It’s a lifeline for the girls and gays who are in the same position she was in, “broke, hot, and confused, still trying to survive”.
Gouws knows that this isn’t a profession entered into lightly. “Most people who are in the sex work industry don’t want to do that and I believe that with my whole soul,” she said. “They’re doing it because they need to get out of a situation, they need to buy a car, pay off their debt, who knows. They just need to survive; they just want to have food on the table. They want to be financially free.”
Hoes and CEOs is a jack of all trades, helping newbies set up OnlyFans accounts, plan content, and even track their taxes. “We keep you accountable and most importantly, we stop when your goal is met,” Gouws said. “This isn’t a forever thing. You come in, make your money, hit your goal, and then you leave.”
The data shows where South Africa’s creators are based and how their earnings are split with OnlyFans. Graphic: Mbali Khumalo
An emerging hierarchy in the digital brothel
Unlike other online businesses, sex workers can’t simply up their marketing to attract new customers. This industry is built on discretion, and not just because it’s taboo, it’s still criminalised.
Enter digital ‘pimps’. The companies they run are structured like management agencies, offering representation, guaranteed clients, and discreet marketing – all for a cut of the profits, of course.
Founded by Australian OnlyFans star Mike Sanchez (AKA ‘Mike and His Banana’), Vixin Management represents adult entertainers in South Africa. His agency promises big returns, fast. Sanchez declined to be interviewed, but Vixin’s Instagram page alleges that no model in the agency has earned less than R50,000 in their first seven days on OnlyFans.
Vixin’s notable earners include one top creator who purportedly raked in R278,910 between April 22 and April 28, 2025. Another creator took home R142,740 between March 21 and March 27, 2025. Non-disclosure agreements keep the identities of his clients confidential, but the agency’s referral programme targets South African girls aged 18 to 22, with a R10,000 payout per successful referral.
Stats SA reports that in 2023, the average South African household had an annual income of R204,359. For the typical citizen, making six figures in just seven days would be life changing.
Big returns are rare in online sex work
While the dream of earning millions on OnlyFans might be alluring, massive paydays are the exception, not the rule. The average creator takes home roughly R2,600 monthly. That’s before OnlyFans takes its 20% cut. Sex work likely won’t make you rich, but for most, especially students, their motivations are more realistic.
“We do see that students are engaging in the trade, especially first years,” said Yonela Sinqu, National Communications Officer at Sisonke, an organisation advocating for the decriminalisation of sex work. “You do get older students, maybe third years, who would engage in sex work to complete their studies. Then you get the ‘older’ generation who would do this to supplement their incomes,” she continued.
“The people engaged in sex work are rendering a service just like any other. The money that they make goes towards the economy of this country. These are small businesses,” Sinqu said.
Most creators on OnlyFans aren’t raking in six-figure sums. Graphic: Mbali Khumalo
Regardless of the modest returns, digital sex work appears preferable to its physical counterpart, where there’s more physical risks and trauma. While it remains stigmatised, the world’s oldest profession isn’t going anywhere.
“It’s not for everyone,” Gouws said. “If you’re allergic to commitment or self-awareness, stay away. But if you have a money goal, a ring light and unresolved issues, welcome.”
FEATURED IMAGE: South Africans are finding both opportunity and risk in the booming digital sex economy. Image: Jufomicheva/Pexels.
Creative Nestlings hosted a panel discussion about the importance of building community by working towards a profitable creative industry for filmmakers and online creators.
Creative Nestlings has facilitated key discussions and communal events for creatives, empowering them to step into the industry with the tools and connections to make informed decisions
The event featured a notable panel including Founder of NW+TV, Muthoni Waigwa, who emphasized the importance of authenticity and ownership of African content
Muthoni Waigwa, producer-filmmaker and Founder of NW+TV Photo: Katlego Makhutle
NW+TV is an African-centric platform that aims to foster a community of creatives that can monetize and digitize their content in Africa
#ConversationsOnCreativity is an events campaign facilitated by Creative Nestlings. On Saturday, 26 July, the NPO – which specialises in educating and connecting African creatives across the continent, hosted a panel discussion as part of their initiative to empower young creatives. The panel discussion focused on how African filmmakers and content creators can master methods of distribution and monetisation.
The event was also inclusive of online content creators, writers, producers, and directors who sought to learn more about the critical need of building an equitable and African-rich storytelling industry. Dillion Phiri, founder of Creative Nestlings, highlighted that the business side of creative work, such as pitching and licensing, begins with doing research, being resourceful and building a strong community.
Through #ConversationsOnCreativity, Creative Nestlings has dedicated their platform to do that, by partnering with NW+TV, an African-centric online streaming platform catering to small and independent content creators, filmmakers and producers.
Muthoni Waigwa, Kenyan producer and host of the podcast Moments with Nderru, stated that monetization of films, documentaries, podcasts and series’ starts with research and expanding your network. Waigwa, a passionate media buyer, emphasized that “owning our narrative and telling our stories bravely” is a powerful tool for preserving our cultures and languages, whilst working towards moving away from a Western way of telling African stories.
“What our platform is seeking to do is to elevate African voices,” said Waigwa.”For far too long, the Western media or audiences have dictated what our story should sound like, look like, and be produced, and so our stories have been diluted and misunderstood along the way.”
The panel also discussed the need for visibility in changing the perceptions of creative work and the continued challenges of sustaining a reputable brand in an ever-changing digital age. Additionally, challenges in distributing content are largely due to a lack in resources and understanding of the research required to make informed decisions on content licensing and distribution.
Producer, writer and actress and Wits alumna, Kirsten Muhammed. Photo: Katlego Makhutle
According to a report examining the impact of Digital Communication Technologies on the Film industry in SA, the shift from traditional media distribution to digital media distribution has changed the arts and entertainment industry significantly. There is a growing preference amongst audiences for films and other audiovisual content to be available online. Content distributed as large digital files rather than physical media has helped creators and producers spend less money on transportation and storage costs of physical footage.
Another key theme in the panel discussion was the importance of being “versatile” by occupying different roles in small to large scale productions, as it often creates a streamline for more opportunities and exposure to crucial employment networks.
Writer, producer and actress, Kirsten Muhammed, told Wits Vuvuzela that it was hard trying to break into the industry, but once she gained an opportunity as a writer, it motivated her to persevere and get seen in a serious light in other different roles, including film production.
Muhammed is the co-host of SABC2’s Disney Cookabaout and graduated from Wits University with a Bachelor of Dramatic Arts in Performance and Directing in 2015. The Wits Alumna said that the industry is shifting towards a truer reflection of portraying everyday African experiences. Motivating students and aspiring creators, Muhammed says, “We’re all still learning as we go. Budgeting, scheduling, storytelling…just keep learning and it’ll happen.”
FEATURED IMAGE: From left to right- Director Dumisani Phakhathi, Director Karabo Lediga, Actress Kirsten Muhammed, NW+TV founder Muthoni Waigwa, and Creative Nestlings Founder Dillion Phiri. Photo: Katlego Makhutle
When degrading women is the punchline, what does that reveal about the audience laughing along?
“Minnie’s pretty bro. Why can’t she keep a man?”
“Bro, I’m telling you man. There’s got to be something wrong with her. Maybe her coochie smells or something. You know this happens, bro, it happens, especially with the hot girls.”
“Mac, what if she can’t cook?”
That’s not an out-of-character quote or a harmless joke gone too far. It’s yet another example of the routine misogyny that fuels Podcast and Chill, the cult-like podcast and online show that’s been trading integrity for views since 2018.
On April 24, Podcast and Chill co-hosts Macgyver Mukwevho “MacG” and Sol Phenduka once again crossed the line between edgy commentary and outright misogyny. While discussing media personality Minnie Dlamini’s recent breakup with businessman Brian Monaisa, the conversation quickly spiralled into provocative territory as the pair speculated on the reasons for their split.
This is not new or surprising. This is exactly what a large amount of South African entertainment has become – a breeding ground for lazy, degrading speech against women dressed up as unfiltered commentary.
The irony came fast and loud when, on April 28, Moja Love condemned MacG’s remarks. Yes, that Moja Love. The channel that built its brand on exploiting poor, vulnerable and black South Africans, suddenly wants to be the voice of reason.
The same Moja Love that the Broadcasting Complaints Commission of South Africa (BCCSA) fined in 2023 for airing scenes of domestic violence on Isencane Lengane without trigger warnings or adequate support for the abused being filmed. The same broadcaster that aired Uyajola 9/9, a show that turns toxic relationships into Sunday night entertainment.
Spare us the moral high ground.
Where are the gatekeepers? Unfazed, it seems. By carrying Moja Love and MacG’s content, broadcasters like DStv fail to uphold the principles of the BCCSA’s code of conduct.
This code protects viewers from harmful content and ensures fair and balanced programming. It states that broadcasting licensees must “exercise exceptional care and consideration in matters involving the privacy, dignity and reputation of individuals.”
The code goes on to expressly state that licensees “must not broadcast material which […] sanctions, promotes or glamorises violence or unlawful conduct based on race, national or ethnic origin, colour, religion, [or] gender.”
Let’s be honest. Podcast and Chill isn’t the disease, it’s the symptom. The South African entertainment industry has fallen in love with controversy because outrage pays. Misogyny and vulgarity are now marketed as “being real.” The uglier the take, the better the numbers.
Podcast and Chill is one of the most consumed shows in the country, with 1.57 million subscribers on YouTube. Moja Love still pulls audiences despite constant public backlash.
So what does this say about us? Is our appetite for entertainment so bottomless that we’ll swallow anything, even casual violence or gender-based humiliation?
We’re not just bystanders. We’re complicit.
If the South African entertainment industry won’t change, then maybe the public should change the channel.
Or at the very least, ask ourselves, “why are we still watching?”
FEATURED IMAGE: Podcast and Chill co-hosts MacG and Sol Phenduka have ignited another sexism scandal, this time taking aim at actress Minnie Dlamini. Graphic: Mbali Khumalo.
A career in the arts is considered risky because of inconsistent pay, scarce work opportunities and instability – issues that were brought to the fore by a recent appeal from a veteran actress.
Nandi Nyembe took to social media to ask the public for assistance with her medical bills
The Performers Protection Amendment Bill was sent to the Constitutional Court by the president in October 2024
Performing artists and students need to rally together and form a stronger collective voice
Legendary actress, Nandi Nyembe (53) opened up about her career and personal challenges with job insecurity and royalties as a veteran performing artist.
In a recent podcast with Sunday World, the Zone 14 and Adulting actress laid bare the precarity of the screen performance industry in South Africa as she discussed her struggles with getting medical assistance.
Despite her lengthy and illustrious resume, Nyembe took to social media on April 1 to ask for assistance from the public. Her video went viral, prompting the Minister of Sports, Arts and Culture, Gayton McKenzie to respond with a R20 000 donation.
Nyembe’s story has become all too familiar. In South Africa, there are currently no royalties for live and on-screen performers.
The Performers Protection Amendment Bill of 2016 was drafted by the Department of Trade, Industry & Competition and sent to the Constitutional Court last year. The amended bill seeks toimplement changes and provide legal protections for live & on-screen performers and artists, who range from acting and theatre to musicians and dancers. The South African Actors Guild says the bill would “help give actors their rightful place in the economy”.
Miss Earth SA third runner-up, Thembi Mathebula (23), described feeling quite sad hearing about Nyembe’s public outcry. The Honors in Theatre and Performance student, majoring in Directing and Cultural Policy Management, emphasised the importance of policy implementation to intervene in this crisis. “Policy makers need to sit down and actually put a stamp on it and say, what do we do when something like this happens?” Mathebula said.
Choreographer Douglas Sekete (52), a postgraduate Diploma in Arts (PDGA) student at Wits Drama for Life, said artists can often go three months without a job. When an opportunity finally comes, the public can often assume that because the artist or performer is working, they are wealthy.
“When the job comes & it pays you like R45 000,00 and you’ve got bills that you need to pay, the public will assume that (because) you appear on TV so you must have this X amount of money, but in a true sense, no. You are left with R2 000, 00, and you have to punch for another job, which may take some time again,” he said.
Collen Makua (32), another PDGA student and artist, stated that the issue isn’t necessarily financial literacy amongst performers in the arts and entertainment sector but the instability of employment opportunities.
Makua highlighted the lack of training programmes and overall decreasing financial support from the state and private entities directed towards the arts sector.
Both Sekete and Makua emphasised the need to create a strong collective voice for all creatives in the arts and entertainment sector. While there’s no clear word on the Bill’s status and its implementation, Nyembe’s story is a reminder of the urgency of legislative intervention in the entertainment industry.
FEATURED IMAGE: Actress Nandi Nyembe. Photo: Actor Spaces/ Gabriel McCreadie
Sibusisiwe Manqele, a Wits alumnus, walks us through her journey as a prominent creative in the entertainment industry.
A powerful voice, creative vision and a vibrant personality are the qualities that make Sibusisiwe Gugu Manqele an innovative storyteller.
From doing voice-overs for numerous brands and writing scripts for popular South African TV shows such as Gomora, House of Zwide and currently Skeem Saam, Sibusisiwe continues to establish her as a prominent force in the industry.
Sibusisiwe grew up in Ulundi, Kwazulu-Natal which is where her love for storytelling began. Her upbringing involved long commutes from home to school with private scholar transport and the other passengers were her first storytelling audience.
“These were spaces for creating stories because we’d have 30 (minutes) plus commute when I wasn’t in boarding school, and they’ll just be stories. As kids you just find things to pass time and part of that is storytelling,” she said.
This passion for storytelling drove her to want to study at The School of Arts at Wits University. She applied for a Bachelor of Arts in Dramatic Arts (now known as Theatre and Performance), a position she had to audition for despite having no prior experience in drama. “I decided to adapt a novel that I was doing and it’s only now when I think about, oh my gosh, that was the writer in (me)”. This adaptation impressed the markers and got her into the programme.
Against the recommendations made by her course coordinators, Sibusisiwe also did Television and Film, which would often clash with Dramatic Arts classes. “My friend and I had this thought that, ‘No man, we can’t be waiting for acting. When acting is not moving we need to be behind the scenes’”.
Manqele found her first time at Wits as a journey that allowed her to understand the arts and provide her with a network of other creatives, especially as a person who did not have the same artistic background as her colleagues.
After completing her majors in 2012, she spent seven years in the industry trying to get into different types of entertainment, such as lifestyle and reality shows. In 2019, she decided to pursue an Honours Degree in Creative Writing at Wits University which she felt helped her get into more linear, fiction storytelling.
Sibusisiwe Manqele is more than just a script writer but also a businesswoman and innovator at heart. She is the founder of CONTENTWOOD, a production company which tells stories “That give voice to narratives that you don’t always see”, and a part of these narratives involve the empowerment of women.
The company’s first and only short film, Questions, was an experimental film taken from poetry, looks at mental health and the experiences of black women. Manqele had the privilege of presenting the film in Paris at the Communicating Multi-Modally: Research & Expressive Culture in May 2022.
Manqele has had an illustrious career which has been topped off by her being listed as one of Mail & Guardian’s Top 200 Women in South Africa in 2023. When asked to share wisdom for Witsies and aspiring creatives she shared that knowing oneself is the secret and beginning of all wisdom. “And then knowing what you have to give to the world and leveraging that and making the world a better place through that service.”
In a time where the second semester is starting to get the ground running, Wits students can look to Manqele as a beacon of hope for what’s to come from hard work.
FEATURED IMAGE: Sibusisiwe Gugu Manqele. Photo: Skinnie’s Gallery.
The Joburg Theatre was packed, as Mpho Sebeng’s life was celebrated by family, friends, and industry peers.
The Joburg Theatre was the last stage Sebeng performed on, and it became the place where his life would be reflected upon and honoured at his memorial service on Thursday, May 9.
On May 5, 2024 Sebeng was involved in a fatal accident at Potchefstroom in the North West Province.
Sebeng’s acting career started at the age of 12 in a primary school play. He achieved full colours for Drama at only 17-years-old and his first television debuts were on “Justice for all” and “Zero Tolerance” which both won multiple awards.
Faces from the entertainment industry including Rosemary Zimu, Thato Dithebe, Mandisa Jakavula, and others were in attendance. Sebeng’s high school mates, teachers, and friends in the industry shared fond memories.
“His power and purpose sat in his ability to speak life into every single one of us,” said Reabetswe Tsobane, a friend from high school.
“You could’ve met Mpho for two minutes and you would have left with something,” Tsobane added.
Sebeng was not known as one to hold grudges. Conversations would often be defused with funny dance moves he would make to lighten up the mood.
His recent nickname “Luse” was based on a lesson his former high school mate learnt from him, “to let go of grudges, anger and pain, and to love loosely”.
Sebeng was described as a deeply compassionate gentleman who always put the interests of others before his own. In his matric year 2011, Sebeng came up with a song to help other learners understand and memorise the quadratic mathematics formula.
He was a serious actor that respected his craft. As a television actor, his debut stage performance at the Joburg Theatre was described as marvellous.
He tackled challenging roles, portraying Johnny in Athol Fugard’s “Nongogo” and performing in Shakespeare’s “Othello.” His portrayal was described to be one of excellence, as he skilfully navigated the psychological intricacies of both characters.
Mzwakhe Mbuli, also known as Robot Boii, shared a quote Sebeng shared with them: “Stay in school; God is good. Love your mama, respect your parents and be kind.”
As many share screenshots of their last conversation with Sebeng, one thing is common, he was never afraid to tell people that he loved them. Sebeng was laid to rest at Westpark Cemetary in Roodepoort on Saturday, May 11.
FEATURED IMAGE: People gathered to celebrate Mpho Sebeng’s Life ay the Joburg Theatre on May 9, 2024. Photo: Ofentse Tladi
The entertainment industry greats paid tribute to one of South Africans great actors, John Kani at his birthday celebration.
Award winning actor, director, playwright, and Wits honorary doctorate receiver John Kani celebrated his 80th birthday in a packed theatre. The celebration took place in his namesake, the John Kani theatre, in the Market Theatre laboratory on August 30.
The event was opened with a performance by the South African jazz musician Sipho ‘Hotstix’ Mabuse, followed by an address by Atandwa Kani, his son and an actor in his own right. “We all here to celebrate this big man’s birthday on behalf of the family, I just want to say tata, happy birthday Mlotshane,” he said.
Atandwa Kani performing The Island. Photo: Aphelele Mbokotho
The Van Toeka Af living legends recognition series is an initiative by the Department of Sports, Arts and Culture’s which recognises living legends and the work they have done. Dr Kani’s 60 year career in the dramatic arts played out on stage.
The celebration included different snippets of theatre work that Kani had worked on and won accolades for, among these performances was the infamous Sizwe Banzi is Dead, performed by Atandwa and Nathienal Ramabulana on the night. The play co-written by Athol Fugard, Winston Ntshona and Kani, explored the themes of identity, self-worth, racism, and suppression.
This is the play that won the Tony Award for the best play in 1975. It premiered in October of 1972 and ran 52 times in New York, winning the award three years later.
Kodwa spoke fondly about Kani and the work he has done for art and how he has used art to inspire change through his work during the apartheid and post-apartheid era. “He is the living testament to the power of art, to inspire change, to transcend boundaries and to foster unity,” he said.
Another outstanding theatre performance of Shakespeare’s Othello was performed by Atandwa, Kate Liquorish and Michael Richard. In 1987, Kani’s role as Othello, in particular the infamous kiss shared with Desdemona (a white woman) in the play, faced backlash. The kiss came just two years after laws prohibiting interracial marriages and sex were repealed by the Apartheid government. But segregation was still so ingrained, that many audience members walked out during performances reported the Chicago Tribune at the time.
Atandwa Kani and Kate Liquorish performing Othello. Photo: Aphelele Mbokotho
Kani wrapped up the evening with a performance of a play he wrote called “Nothing but the Truth” which looked at the relationship complexities between the black people that stayed in South Africa and the ones that went into exile.
After his performance he made a speech on the importance of sustainability in the arts. “We have to industrialise the arts, it cannot be a side job because we don’t want to do a BSc [Bachelor of Sciences], it has to be a business, an industry that I can tell my children yes because you’re going to survive, make money and be rich.”
FEATURED IMAGE: John Kani sits down to have an interview with Wits Vuvuzela. Photo: Nonhlanhla Mathebula
From almost dropping out of high school to focus on his rap career, film and TV master’s student is participating in leadership programme to benefit his production company.
Siyavuya Mfenqa will take part in the six-week programme hosted by the University of Delaware in Newark – starting on June 16 – that brings together young leaders from every country in sub-Saharan Africa to the US for academic and leadership training.
He first applied for the fellowship in 2017 after completing a diploma in dramatic arts the previous year at the Durban University of Technology (DUT), but his application was unsuccessful. He decided to apply again in 2022 while pursuing an honours in film and television at Wits University because he “felt ready” adding that “the work I’ve done over the years was sufficient enough” and now, he is in the 2023 cohort. “This time around I was more confident, and my work spoke for itself,” he said.
He said he was looking forward to gaining leadership skills that he can implement in his production company – Ntuli Films which he named after his clan names – and networking with others in the programme. “My dream is to grow my production company into one that employs young creatives in the country and tells authentic African stories.”
The 28-year-old filmmaker was born in Kokstad, a KwaZulu-Natal town on the border with Eastern Cape. He said that he used to write songs in high school and perform them at school functions. In grade 10 he “wanted to quit school and become a rapper”.
He is currently working on a master’s research project on cancel culture which is “the mass withdrawal of support from public figures or celebrities who have done things that are not socially accepted today”.
Mfenqa’s research focuses on how certain individuals in the entertainment industry have been shunned for things they have been accused of doing in their personal lives and how these have tarnished their professional reputations. He added that “Cancel culture holds people accountable for their actions but it can also be detrimental if people are wrongfully accused.”
While pursuing a diploma in dramatic arts at DUT which he completed in 2016, he realised that he enjoyed writing more than he did acting because “acting does not give you the platform to tell your own stories and to be in control of the narrative”. He decided to come to Wits six years because “I wanted to move to Joburg and felt that Wits would be the perfect fit for me.”
Last year, the KZN Film Commission funded his trip to Rwanda where he pitched a film to distributors at a festival hosted by the Rwanda Film Office – where filmmakers from all over the continent pitch their ideas to large distributors such as M-Net and Netflix, in hopes of obtaining information and assistance with promoting and developing their audiovisual projects. He received endorsements from distributors for his film.
“The film that I took to Rwanda and am currently working on is a film I wrote six years ago. I’m still working on this idea because I believe that it is going to change my life.”
He told Wits Vuvuzela that being committed has helped him get this far. “Sometimes you stay without a job, but you feel that you have this million-dollar idea, so you keep pushing”.
Throughout his six years of being in the film industry, he has worked as an assistant director on various productions such as Imbewu: The Seed on eTV, and Gqom Nation on MTV Base.
Presently he is working as an assistant producer for Yellowbone Entertainment, a Safta Golden Horn award-winning film production company.
Theatre director and actor Othembele Nomgca who is Mfenqa’s friend, said, “Siyavuya’s way of writing and telling a story is very authentic …”, adding that Mfenqa “goes into detail over things that people usually overlook”.
Younger brother, Yongama Mfenqa (16) who is currently in grade 11, said although the family had concerns about Mfenqa’s choice in studying drama regarding “what it will do for him”, they started being more supportive of his career “after seeing him on MTV and BET.”
Nomgca added that “Siyavuya is a genuinely caring person and very funny. One thing he is not though, is agreeable. He does not just agree to anything to please anyone.”
The once aspiring rapper has managed to make quite a name for himself in ways much greater than his high school self could have imagined.
FEATURED IMAGE: Siyavuya Mfenqa at an orientation workshop for the Mandela Washington Fellowship at The Capital Hotel in Sandton on June 1. Photo: Supplied
The hiring of influencers by political parties deprives voters of the opportunity to interrogate what politicians have to offer.
With the 2024 elections around the corner, politicians can be expected to use celebrities and influencers to persuade South Africans to vote for their parties.
Celebrities have become central figures in modern politics globally by using their influence to lead party campaigns and social awareness campaigns. South Africa is not a stranger to this kind of culture. In the 2019 elections, celebrities such as Bonang Matheba took to Instagram with the likes of Cyril Ramaphosa, the ANC presidential candidate, telling followers to follow their lead and vote for the ANC.
Four years after the success of Ramaphosa’s campaign, Matheba is singing a different tune about how the ANC has failed the country. This proves that she did not have the expertise to make any politically influential statements in the first place because now she is calling for Ramaphosa to resign.
The fusion of politics and pop culture has not served our democracy well as thousands of people would have taken endorsement of politicians by Matheba, DJ Zinhle and the late Kiernan Forbes at face value rather than interrogating their utterances.
Some celebrities even take the baton and run with it into politics, as proven by Donald Trump who moved from The Apprentice showto the White House as the US president. Media reports slammed his term in office because of a lack of expertise to make the right decisions that even saw him refusing intelligence briefings that were crucial for his position.
Brookings, a public policy organisation based in Washington, USA reported that his lack of understanding of the political space made Trump to shut down resources such as the global health security team that would have helped minimise the effects of the coronavirus pandemic. “Most American presidents fail when they cannot comprehend the government they inherit,” the organisation said.
Recently in South Africa we have witnessed Kenny Kunene who became famous in 2014 for eating sushi off naked women become an acting mayor of Johannesburg for a day at the beginning of May. Questions of his capability to carry out the duties were raised because of his position as an entertainer. I was one of those who questioned what made him drop the chopsticks and move into politics and why he was entrusted with such responsibility.
An article in the journal Political Psychology highlighted that “Research has shown that a politician’s involvement in a scandalous behaviour can severely damage candidate evaluations and may also decrease voting intentions.” This could cause voters to have mistrust when celebrities move from the entertainment industry to politics.
This raises the issue whether politicians should stick to being public servants and celebrities remain influencers and entertainers. But what qualifies one to be a politician? In 2018 the Mail & Guardian reported that “Many MPs insisted that educational qualifications are not the key to a seat in Parliament — being a good politician is what counts.”
The South African Constitution gives everyone the right to freedom of expression, but that right comes with responsibility. During the 2024 elections, I would like to see less of influencers in the political space and if we do see them, they should be aware that words have meaning. They should educate themselves about the parties they are endorsing to their followers.
I would like to see more politically present politicians with a focus on service delivery rather than those with a social media presence. South Africa is dealing with crises of water and electricity among many challenges. As a voter I would rather know what the different parties plan to do to solve these rather than listen to celebrities who see politics as the next paid campaign.
A fantastic performance riddled with anecdotal but relatable scenes, tied together with beautiful music, making it a must watch for theatre lovers.
Wits University School of Arts lecturer, Fiona Ramsay and pianist Tony Bentel perform at the Iyabuya iPOPArt festival to showcase their talents and successful careers with over 35 years in the South African entertainment industry.
The talents of Ramsay and Bentel’s Old and the Beautiful, helped wrap up the festival as the final act on March 30 and 31, 2023, at the Red Roof Theatre in Milpark. The festival had a three month run from January 2023, with performances from a range of artists at various venues.
Wits School of Arts lecturer, Fiona Ramsay and pianist Tony Bentel smiling and posing for the camera on stage with a spotlight lighting up their faces before their Old and Beautiful performance at the AFDA Red Roof Theatre in Milpark during the Iyabuya Festival on March 31, 2023. Photo: Georgia Cartwright
The show opened with a spotlight centered on Ramsay surrounded by props of head statues bejeweled with fancy gems indicating wealth, with Bentel playing an upbeat tune. The pair then moved quickly into the next scene with jokes about how covid-19 gave people the ability to hide their identities because of the thousands of masks that were purchased, a joke received with loud, unmasked guffaws.
Ramsay and Bentel put on a show filled with humorous anecdotes related to the covid-19 pandemic, unemployment, loadshedding, gender inequality, and the unavoidable fact of getting old. The dynamic duo made reference to the well-known works of Marianne Faithfull and singing “Maybe this time” in their reenactment of the Broadway show Cabaret.
Each scene in the performance draws upon different issues people face in South Africa while adding a witty twist to create the ultimate form of escapism. The show begins with, “Who doesn’t want to be rich,” a song about struggles artists face when looking for work and the reality of unemployment in the arts industry. The stage props help set each scene with props of clown noses worn by Ramsay and Bentel to indicate that the real jokes are themselves for believing they could have successful careers in the arts but that their optimism, along with a little dope, helps them cope.
While the show deals with dull, often depressing topics, it also manages to make light of these issues through a satirical lens. When asked for their thoughts by Wits Vuvuzela, one audience member called it, “depressingly humorous”. Ramsay brings unique characters to life, such as Denise from an old age home in Welkom, who is staring “death” in the face while reliving her memories. The soundtrack to this is a mix of dramatic and calm classical music played by Bentel, which perfectly scores the emotional scenes as they unfold.
The stage is set with props and rugs from Bentel’s lounge, the stage of the pair’s first performance together eight years ago. Ramsay describes their act as a “satirical look on the madness of life,” and says that “if you don’t laugh, you get too stiff and serious but if you laugh, you are able to escape a little and move forward.”
The lighting changes for each scene and seems to reflect the emotions felt in every act – blue for the sadness and loneliness felt when getting old and red for the frustration brought on by loadshedding and potholes. Each scene tells a story of its own while adding the razzle dazzle qualities associated with theatre, a truly spectacular experience.
When asking the event organiser, Hayleigh Evans said the show exceeded her expectations, and going forward she hopes, “[Having] a live and consistent, permanent program where performers can thrive”, will bring people together.
Ramsay and Bentel are currently both working on projects of their own but plan on having many more magical performances together in the future.
FEATURED IMAGE: Wits School of Arts lecturer Fiona Ramsay singing during her performance of the Old and Beautiful at AFDA’s Red Roof Theatre in Milpark during the Iyabuya Festival on March 31. Photo: Georgia Cartwright
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