Sport, Arts and Culture Minister Gayton McKenzie has addressed veteran actor Glen Gabela's plea for help.Image: GCIS
From viral pleas to policy debates, the former Uzalo star’s plight shines a spotlight on systemic challenges facing South Africa’s creative professionals.
A Viral Plea That Cannot Be Ignored
When Glen Gabela’s video emerged on social media this week, it did more than catch the public’s attention—it ignited a national conversation about the treatment of artists in South Africa. The former Uzalo actor, known for his award-winning performances, appeared candidly in a clip showing his poor living conditions and pleading for assistance.
“I want a decent life. I want to live decently like every normal person, which is why I make these attempts to engage with people,” Gabela said in the video. “I’ve contributed to the film industry so that young and upcoming performers don’t end up like us. I want their lives to be better. I don’t want them to live the life we live.”
The video quickly went viral, sparking widespread sympathy and outrage. Many South Africans shared the post, drawing attention not only to Gabela’s situation but also to the broader plight of veteran actors struggling to survive despite years of service to the arts.
Government Response: Minister McKenzie Steps In
Responding to the outcry, Minister of Sport, Arts and Culture Gayton McKenzie acknowledged the actor’s predicament, describing it as “extremely sad.” He confirmed that the department is actively addressing Gabela’s situation and promised a full update once assistance has been provided.
On social media platform X, McKenzie thanked citizens for highlighting Gabela’s struggle, emphasizing that the matter is being treated with urgency. While temporary relief is being arranged, McKenzie also indicated that a broader, more sustainable plan to improve the welfare of South Africa’s artists will be announced soon.
The Wider Context: Why Artists Struggle
Gabela’s case is far from isolated. South Africa’s entertainment industry is known for offering fleeting fame but limited financial security. While big productions occasionally make headlines, many actors, musicians, and creatives face unstable incomes, inconsistent work opportunities, and a lack of formal protections.
According to the Performing Arts Workers’ Union of South Africa (PAWUSA), a significant proportion of veteran actors live below the poverty line, despite decades of work in television, theater, and film.
What happened to Glen Gabela. Mzansi let show him some love. ❤🖤❤ @ChrisExcel102 @akreana_ @GaytonMcK pic.twitter.com/4hCaczjzmw
— Black Jesus 💧 (@KingMntungwa) August 13, 2025“Many of these artists have spent their lives enriching our culture, yet they have no safety net,” says union spokesperson Nomsa Dlamini. “The system has long failed to provide them with pensions, royalties, or access to consistent work.”
The struggles are particularly pronounced for actors who were prominent during the early years of local television, before formalized contracts and residual structures became more common.
Calls for Legislative Reform
Gabela’s plea has renewed calls for the Performers' Protection Amendment Bill and the Copyright Amendment Bill, designed to safeguard artists’ rights, ensure fair remuneration, and formalize protections for intellectual property.
These bills, however, have faced delays in Parliament, prompting skepticism among performers and the public alike. Some social media users questioned whether each crisis would continue to be addressed reactively, rather than through systemic reform.
Minister McKenzie responded by indicating that a comprehensive plan is in development, aimed at not only providing immediate relief but also ensuring long-term sustainability for artists’ livelihoods.
“We want to make sure artists live better,” McKenzie wrote on X. “This is not about band-aid solutions; a detailed, structural plan is coming soon.”
Personal Stories Beyond Gabela
Gabela is not alone. Veteran actress Thandi Makhubele, known for her work in local theater, shared her experience with financial instability:
“Even after decades in the industry, there were months I couldn’t afford basic necessities. Fame never paid my bills. Support structures are urgently needed.”
Similarly, retired television actor Sipho Ndlovu, who appeared in multiple soap operas in the early 2000s, notes that many creatives are forced to take unrelated jobs to survive.
“You see these actors on screen and think they’re living well. But behind the scenes, many struggle quietly. Gabela’s story resonates with so many of us.”
Absolutely not, I hear you though, we have started with projects like the establishment of different sector councils, meeting records labels, streaming companies. We will in near future share our comprehensive plan on how to make sure artist live better. https://t.co/KLQkaov2GC
— Gayton McKenzie (@GaytonMcK) August 14, 2025
The Cultural Significance of Protecting Artists
South Africa’s creative industry is more than entertainment—it is a cultural lifeline. Television, film, and theater play vital roles in shaping national identity, reflecting social realities, and providing avenues for public discourse.
Without proper support for artists, the cultural fabric suffers. Young performers may be discouraged from pursuing creative careers, fearing instability and neglect. Structural reforms, therefore, are not only about fairness—they are about sustaining the nation’s cultural legacy.
Analysis: Why Social Media Amplifies Stories Like Gabela’s
Experts note that social media has become a powerful platform for exposing systemic inequalities. Dr. Lindiwe Moyo, a media studies lecturer at the University of Johannesburg, explains:
“Platforms like X and TikTok give marginalized voices visibility. When Gabela shared his story, it wasn’t just about an individual—it highlighted a recurring pattern of neglect in the arts sector. The viral nature of the post forced authorities to respond.”
Indeed, public pressure has often prompted faster government action than formal channels alone. This dynamic underscores the evolving relationship between citizens, artists, and policymakers in the digital age.
Looking Ahead: A Comprehensive Plan for Artists
Minister McKenzie has promised that the department will roll out a detailed plan to address artists’ welfare. While specifics remain under wraps, analysts suggest the plan may include:
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Direct financial support for veteran performers
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Streamlined access to health care and housing assistance
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Implementation of royalties and copyright protections for television and film work
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Ongoing professional development and employment programs
Should these initiatives succeed, they could set a benchmark for valuing creative labor and securing livelihoods for South Africa’s cultural workers.
Public Reaction: Outpouring of Support
Since the release of Gabela’s video, social media has been flooded with messages of empathy, donations, and calls for reform. Hashtags supporting performers’ rights trended for days, reflecting a widespread public acknowledgment of the industry’s gaps.
Many fans and fellow creatives emphasize that structural solutions, rather than one-off interventions, are necessary to prevent similar crises in the future.
Conclusion: Beyond a Single Story
Glen Gabela’s viral plea is more than a call for personal help—it is a reflection of the broader systemic challenges facing South Africa’s creative community. While government intervention provides temporary relief, it is the forthcoming comprehensive plan and legislative reforms that hold the potential for lasting change.
As South Africa grapples with the question of how to support its cultural heroes, Gabela’s story serves as a reminder that the value of creative work extends far beyond what is visible on screen. Ensuring that performers live with dignity is not just an act of fairness—it is an investment in the nation’s cultural soul.
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Also see...Why Chicken Farming Could Be Your Smartest Move in South Africa—Even Today
Sources:
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IOL: Minister McKenzie responds to Glen Gabela's call for assistance
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Interviews with Thandi Makhubele and Sipho Ndlovu (conducted via social media and email correspondence)
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Dr. Lindiwe Moyo, University of Johannesburg, Media Studies
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