How our cultural industry killed a piano maestro Bheki Mseleku and legendary actor John Matshikiza

The last few months has seen tragic passing on of a number of great African artists.

Frankly, these great artists died because, as creative African intellectuals, they could not find jobs and thus had no money to lead respectable and dignified lives. In fact, they were almost like paupers.

It is a serious indictment on the arts and culture industry that 15 years into freedom and democracy, African artists are still marginalised and condemned to the wilderness of unemployment and lack of personal fulfillment.

I am talking about renowned pianist Bheki Mseleku, highly gifted writer John Matshikiza and talented actress and comedian Daphne Hlomuka of “S’gud S’nice” fame. These are the examples that come to mind but they definitely are not the only ones.

Ms Hlomuka was working at a call center at the time of her death. Bheki Mseleku had been deprived of opportunities to be a teacher at KwaZulu-Natal tertiary institutions because he had no honorary PhD. John Matshikiza was working as a freelance writer for the Mail & Guardian. He could not find permanent employment in theater in this country and, as a result, had to resort to writing bitter and angry tirades against the government to vent out his frustrations.

Today we mourn the death of three great African artists who could not find jobs in their country simply because they are black. We are where we are today because Big Arts Business and institutions of higher learning in this country refuse to work out ways and means of creating opportunities for African artists to find jobs.

If you are a multi-talented African musician like Bheki Mseleku, for instance, the intuitive knowledge, the explosive talent and the desire to teach does not mean a thing to heads of departments, academics and other professors who insist on a Master’s degree or other higher qualifications. These learned men and women have conveniently forgotten that Mseleku was not allowed to attend these white institutions because of racism, poverty and oppression in the land of his birth.

If you are a multi-award winning playwright, director and actor like John Matshikiza, for instance, your history, heritage, international experience, abilities and skills do not mean a thing to theater CEOs, artistic directors and other important functionaries in the sector.
It would seem that playing a seminal role in theater is still the prerogative of white people who still wield the power over who to employ and who not to give a contract to.

It means absolutely nothing that your father was an international theater icon, Todd Matshikiza, who happens to be one of the most outstanding theater figures to come out of Africa and you not only carry his blood, creativity and intelligence but also learnt everything you know from him since you were four years old.

If you are a tough, resilient and determined African female like Daphne Hlomuka, for instance, your self-sacrifice, strength, originality and creativity in overcoming the absurd does not matter.

It would seem that white film directors, white producers and other players in the sector completely forget about how you have helped them build empires through your blood, sweat and tears. You are abandoned to be on your own and end up scrounging a living by being a telephone receptionist.

African artists have carried on an important struggle throughout the history of arts and culture in this country. Whites must come forward and put up a struggle not only to recognise African talent but also to open up job opportunities for them. They hold the money and power in a, largely, privatised creative industry.

It is awful that African artists continue to die like paupers.