Bold claim: the Samas have lost their bite, and that erosion isn’t just painful—it’s a warning for South Africa’s entire creative ecosystem. Zakes Bantwini weighs in on the Samas after their 31st edition, arguing that the awards’ influence has gradually dwindled and that the nation’s cultural pulse has suffered as a result. He reflects on a time when the ceremony captured the country’s imagination, much like the Grammys do in America, and pressed the question: what happened to that collective moment?
Bantwini recalls a golden era when the Samas halted the nation—reach beyond just musicians to politicians, business leaders, athletes, teachers, families. The event wasn’t merely an industry milestone; it was a nationwide moment, with the red carpet, interviews, collaborations, and post-show conversations fueling energy long after the broadcast. Today, he observes, the atmosphere is starkly different: little social buzz, notable absences, and a public that seems to move on quickly. In short, the Samas have contracted from a national event to something that many people barely notice.
He notes a shift in emphasis from local achievement to global acknowledgment. Fans increasingly await international validation to decide who the country’s best artists are, which risks sidelining the homegrown institutions that shape careers from the ground up. Risa’s role, Bantwini argues, is to rebuild trust through accountability, transparency, and a steadfast commitment to recognizing excellence from all corners of the industry.
While international recognition remains valuable—it signals world-class standards and broad competitiveness—he cautions against letting it eclipse domestic institutions. Prioritizing overseas acclaim can teach younger generations to equate worth with external approval rather than domestic merit.
Bantwini is explicit in his critique of the judging process and governance. He calls for transparent, inclusive panels at Risa—featuring a mix of voices beyond the familiar gatekeepers, including young curators, regional representatives, and genre specialists who reflect current trends. He emphasizes that trust must be rebuilt through clear accountability and a genuine commitment to honoring excellence wherever it originates.
Acknowledging the magnitude of the task, Bantwini asserts that reform is possible. He points to global examples where nations have revamped their music awards to better reflect contemporary realities and urges South Africa to do the same. The path will require decisive leadership, a willingness to implement meaningful changes, and the courage to move past cosmetic adjustments toward lasting improvement.
