South Africa’s community arts centres fight for survival

By Botlhale Leepile 

Creativity has long been one of South Africa’s most powerful tools for change, a force that bridges divides, builds confidence, and transforms communities.

Yet this year, the very organisations that make this transformation possible are struggling to keep their doors open. Community-based arts centres, once celebrated as engines of education, employment, and cultural identity, are now balancing on the edge of survival.

Executive director Caryn Green warns that the institution’s survival is far from assured.

“Every artist we train, every creative entrepreneur we support, sends ripples through our communities, uplifting others, enriching local economies and inspiring peers,” Green writes in a recent reflection on the organisation’s work. 

In 2024, Sibikwa’s internal data show it reached over 8,200 children, youth and young people with disabilities; trained more than 520 artists, creative entrepreneurs, facilitators and teachers; and created 195 jobs across performance, technical and facilitation roles. 

 Yet despite this broad impact, Green stresses the operating reality remains fragile: “We live in a time of fractured support. We operate with almost no surplus, and ongoing cash flow instability.” 

Founded in 1988, Sibikwa has grown into a nationally recognised Centre of Excellence, accredited to conduct vocational training, deliver inclusive arts education and present high-level productions.  With a mission to “advance the talents of South African children and youth through inclusive arts education programmes,” the organisation has consistently filled a gap in underserved communities. 

Yet the funding landscape is shifting. Sibikwa’s leadership points to an inconsistent public funding environment: project-based grants rarely cover overheads, delays and short-falls jeopardise programming, and emerging funders are drawn instead to newer, thematic initiatives. As Green puts it: “If access is to remain equitable in a historically unequal South Africa, we will never be self-sustaining without excluding the very people we are here to serve.” 

Despite the difficult terrain, Sibikwa is adapting. Its advocacy arm emphasises that “We believe that arts and culture have a significant role to play in transforming society” and calls for “a coordinated and intentional position in education, government policies and communities.” 

As South Africa wrestles with questions of cultural investment, social inclusion and creative industry growth, Sibikwa stands as both a caution and a beacon. Its story is not only about staging performances or training young artists; it is about how the arts serve as infrastructure for hope, jobs and transformation. But if centres like Sibikwa cannot secure long-term sustainability, the ripple effect they create may well begin to fad