South Africa is a unique nation known for its humour, finding amusement in its flaws and laughing at its painful history of racism with comedians of international calibre.
They say comedy is the best form of medicine, or something like that.
Humour – even for an ordinary individual who is not a comedian like myself – we cannot escape the fact that comedy is ingrained in our social fabric – it becomes a wicked phenomenon when contextualised, much like our sense of humour, which reaches a level of wickedness that is difficult to grasp.
Yet our comedy, along with our entertainment industry, is in decline (maybe that’s an exaggeration). One aspect that continues to amuse us is the ability to forget our daily struggles. The same comedians who navigate this unstructured, unprotected environment are not only enduring hardships but also persisting in striving to entertain, a lesson that many surviving freelance artists in South Africa could benefit from.
State of South African Comedy
It is an inequitable comparison to draw, yet one can observe the thriving nature of comedies in the United States, which operates within a well-organised system and a flourishing entertainment sector. The comedy landscape in South Africa is notably different from that of the United States, primarily due to its nascent and developing structure, a lack of dedicated comedy infrastructure, and a focus on alternative economic models.
Unlike the U.S., which features a well-established, hierarchical network of specialised comedy clubs and strong agency support, the South African comedy scene relies more on a variety of often temporary venues, individual initiative, and a shift towards personal business interests rather than collective endeavours.
Mpho Popps Modikoane is cited as a blueprint for independent artists.
Mpho, undoubtedly one of South Africa’s most cherished and popular comedians, has a segment that remains one of my favourites, dating back approximately four years, if my memory serves me correctly (who’s really keeping track of time?). In this segment, he humorously addressed the topic of “land re-exfoliation without comprehension”. Even now, it brings a smile to my face just thinking about it.
The “land issue” in South Africa is serious, rooted in colonial and apartheid dispossession, notably the 1913 Natives Land Act, which limited land ownership for Blacks to 13%, while whites seized the rest. Despite democratic reforms, whites still own over 80% of the land, causing economic inequality. Slow, inefficient land reform has led to increased political tensions and demands for expropriation without compensation.
However, in this instance, regarding Mpho, he discovered a method to tackle a subject during its nascent stage. He approached it in a humorous manner that had all members of the audience, regardless of race, laughing. This comedic approach exemplifies South Africa. We possess the ability to entertain one another, and this is one of the blessings of a nation rich in a history of injustice.
Before I lose track of my thoughts, Mpho is frequently regarded as a model for independent artists in the country. Of course, there are many examples to consider, but he has excelled in operating with a corporate mindset while preserving creative authenticity.
Independent artists can learn from his strategies in diversification, digital adaptation, and financial literacy, an area where our nation struggles. He excels in strategic branding, combining corporate comedy with social commentary, making him a trusted choice for brands like Sanlam and inDrive. He emphasises the importance of financial management, urging artists to maintain their lifestyle while reinvesting in growth assets.
However, it is not only artists who can gain insights from comedy; in his reflective article, Dr Hashim AlZain asserts that stand-up comedy can enhance your business storytelling.
He argues for skipping expensive presentations and marketing strategies, emphasising that comedians excel at creative storytelling, transforming relatable everyday experiences into humour.
Consider the discussion regarding the issue of land expropriation without compensation in South Africa as presented by Mpho, who managed to turn such a significant topic, rooted in the consequences of colonialism and apartheid, into a source of laughter for the audience – this is truly astonishing!
AlZain emphasises that this is the essence – the core – of standup storytelling. It involves taking the relatable and converting it into something surprising and captivating. Although business and standup may appear to be vastly different, at their core, both depend significantly on the strength of a compelling narrative.
What a time for independent artists to view their craft as a business.
While not all artists have a business mindset, they should view their work as a business. The South African entertainment industry is in crisis, with traditional sectors struggling, yet digital streaming and live performances thrive. Despite government funding failures and a lack of market regulation, the industry remains a creative hub, producing globally recognised talent like Trevor Noah. This raises a crucial question: why shouldn’t independent artists learn to treat their art as a business and pursue growth?
