The South African Music Awards (Samas) once held the power to unite an entire nation, but today, they barely register a blip on the cultural radar. This decline is more than just a loss of prestige—it’s a reflection of how we value our own stories and talents. Zakes Bantwini, the Grammy-winning DJ and producer, recently penned a thought-provoking critique of the Samas’ dwindling influence, sparking a conversation that’s long overdue. But here’s where it gets controversial: Is South Africa prioritizing global recognition over its own cultural institutions? And this is the part most people miss—the Samas’ fade isn’t just about awards; it’s about identity and legacy.
In his opinion piece, Zakes reminisced about a time when the Samas were more than just an industry event. ‘I remember when the Samas meant the whole country stopped,’ he wrote. ‘Not just musicians—everyone. Politicians, business people, athletes, teachers, families. Everyone gathered around their TVs. The Samas were a South African event, carrying the weight of our culture. They were our Grammys.’ But now? ‘Yesterday came and went,’ he lamented. ‘Barely a mention on social media. Artists weren’t there. Fans didn’t care. The energy—the red carpet, the interviews, the collaborations—it’s all gone the next day. We’ve let the Samas shrink into obscurity.’
Here’s the bold truth: Local awards are being overshadowed by the global spotlight on South African musicians. Zakes argues that while international recognition is important, it shouldn’t come at the expense of celebrating our own. ‘We wait for the world to tell us who our best artists are before we take notice,’ he pointed out. ‘We’re teaching the next generation that you only matter if you’re recognized overseas first.’ But is this a fair assessment? Or is the global stage simply where the future lies? Let’s discuss.
Zakes didn’t hold back in calling out the Recording Industry of South Africa (Risa) for its role in the Samas’ decline. He criticized the judging process for lacking transparency and diversity, often awarding artists whose relevance is questionable. ‘Risa needs to rebuild trust,’ he asserted. ‘That means accountability, transparency, and a real commitment to recognizing excellence wherever it comes from.’ He suggested diverse judging panels—young curators, regional representatives, genre specialists—to reflect the pulse of South African music. ‘It’s a lot of work, but it’s not impossible,’ he added, citing successful reforms in other countries’ music awards.
But here’s the counterpoint: Is Risa solely to blame, or is this a symptom of a larger cultural shift? Are we, as a nation, losing interest in our own stories because we’re too busy chasing global trends? Zakes challenges us to think deeply about these questions. ‘This industry has given me everything,’ he wrote. ‘That’s why I won’t stop talking about what needs to change.’
So, what do you think? Is Zakes right in calling for a Samas revival, or is the focus on global recognition a natural evolution? Let’s keep the conversation going—because the future of South African music depends on it.
