While South African artists and creatives from categories such as fashion, music, film, dance, visual art, theatre, sculpture, performance art and much more continue to be the toast of the rest of the world, a structural risk which threatens to undo this and even curtail further development of the Cultural and Creative Industries (CCI’s) is the dire lack of investment in cultural infrastructure by government and the private sector.
When the Soweto Theatre was opened in 2012 as one of the legacy projects from South Africa’s hosting of the 2010 FIFA World Cup, there was hope that its completion could signal a boon for the creative economy in terms of cultural infrastructure development however that has not been the case. What has happened is that much of the existing cultural infrastructure has not been adequately maintained as budgets shrink and government priorities change. A case in point would be the demise of the Johannesburg Art Gallery (JAG) which thankfully seems to now be receiving the necessary attention after years of neglect by city authorities.
Soweto Theatre Photo Courtesy : www.inkanyeli.co.za
In fact, the only other major cultural infrastructure project long touted for development is the Limpopo Provincial Theatre, first announced in 2016 by then Premier Stan Mathabatha. This key cultural infrastructure project would go on to be ‘delayed’ for almost 8 years meaning creatives and artists in Limpopo did not have a space to work from like the other provinces as both the provincial and national government dragged their feet though budgets were being allocated but not being utilised. Construction did eventually start in February 2024, and though there have been some reported hiccups it is expected that the theatre will be completed around February 2026.
Construction at the Limpopo Provincial Theatre Site Photo Courtesy : www.sekhukhunetimes.co.za
Whether its theatres or concert venues, cultural centres and community art centres, there has simply not been enough appetite both from government and the private sector in serious investment towards the development of cultural infrastructure. Part of the problem could be a lack of policy, but another could be that the government and the private sector have different priorities when it comes to large scale construction projects with malls and other projects which often become white elephants always ahead of the queue.
The Coca-Cola Dome Photo Courtesy : www.theplannerguru.co.za
Worryingly, historical cultural spaces like the famous Funda Arts Centre in Soweto have been experiencing operational challenges for years without receiving any relief from the authorities. These challenges and sometimes closures have not only affected government properties as evidenced by when the multipurpose Coca-Cola Dome (which later became TicketPro Dome) ‘closed’ in December 2021 only to be reincarnated as a pre-owned vehicles showroom. At its height, the Coca-Cola Dome hosted international artists such as Pink, Katy Perry, Lionel Richie, Lauren Hill, Pharrell Williams, Celine Dion, Michael Buble and many others.
Whilst the need for development of cultural infrastructure remains a major risk to the development of the South African creative economy, there has also been controversy as was the case with celebrated musician and composer, Caiphus Semenya who’s National Academy of Africa’s Performing Arts is yet to become a reality despite receiving millions from government and other well-wishers.
The unfinished National Academy of Africa’s Performing Arts, Soweto Photo Courtesy : Kimberly Mutandiro/Groundup
Though the private sector has not been as active, there was some good news when in January 2025, global entertainment company, Live Nation, in partnership with Stadium Management South Africa and Gear House South Africa opened a new venue which they named The Dome. In an interview published with a local entertainment news platform, Live Nation South Africa CEO, Justin Van Wyk was quoted as saying, “The Dome fills a critical gap in South Africa’s live entertainment scene, creating a unique space that will support pan-African talent.”
The Dome (pictured next to FNB Stadium) Photo Courtesy : www.urbanlifestylesa.co.za
Much more investment of this nature will be needed for more cultural venues to be developed and one way to do this could be through Public-Private Partnerships (PPP) framework which are often utilised when projects such as power plants, bridges and roads are construed. Whatever model is used should not be the hindrance to the development of cultural infrastructure so that South Africa’s vast and mostly untapped talents can have spaces to learn, grow, develop and professionalise their artistic and creative outputs.
Editor’s Note
Tonderai Chiyindiko is an experienced arts manager, researcher, and writer from Zimbabwe, with over 15 years of experience contributing to local and international platforms. His work focuses on cultural entrepreneurship, leadership, and policy advocacy across Africa’s creative and cultural industries.
In this article, Tonderai turns his lens on the state of South Africa’s cultural infrastructure, asking why meaningful public investment in venues and creative spaces has stalled. Drawing on real case examples—from the closure of Johannesburg’s iconic TicketPro Dome to the long-delayed Limpopo Provincial Theatre—he challenges the idea that private sector efforts alone can sustain the country’s creative economy. Through interviews, analysis, and context, the article makes a strong case that the future of South Africa’s creative sector depends not only on talent, but on infrastructure—and political will.
