South Africa’s next gold rush is creative, not mineral

Why the world’s appetite for our stories could fuel a multi-billion rand industry

South Africa just earned a record number of International Emmy® nominations — placing us third globally, behind only the United Kingdom and Brazil. It is a moment of celebration, but it should also be a moment of reflection. Because while we’re rightly proud of the recognition, we are overlooking the R50 billion opportunity hiding in plain sight.

The Emmys are not simply a mark of artistic prestige. They are proof of what many of us have argued for years: the world doesn’t only want our minerals — it wants our stories, our culture, and our creativity. The demand is global, the appetite is real, and yet our policy frameworks and investment priorities still treat the creative industries as a side show rather than a growth sector.

Look at the evidence. Amapiano is dominating international playlists. Tyla is breaking global charts. South African film and television are streaming to millions around the world. Our creative output is already world-class — but our creative economy remains largely untapped.

The Global Blueprint

In countries that have understood the link between culture and commerce, creativity is big business. In the United States, arts and culture contribute 4.2% of GDP — an astonishing $1.17 trillion annually. The sector employs more than five million people and consistently runs a trade surplus through exports of film, television, music and digital content.

Culture is not an afterthought in these economies. It is an engine.

The United Kingdom’s creative industries are another case in point. They contribute nearly £125 billion to GDP and employ close to 2.5 million people — more than financial services. The UK’s global reach is not just built on the City of London, but also on the BBC, British film, design, and music.

The South African Opportunity

If South Africa were to scale its creative industries to just 3–4% of GDP, the sector would rival tourism (3.3% direct contribution) and agriculture (2–3%). The ripple effects would be immense:

• Jobs: The creative economy does not only employ actors and musicians. It creates work for sound engineers in Soweto, costume designers in Cape Town, lighting technicians in Durban and set builders in Maboneng. These are not temporary projects but long-term careers rooted in community.
• Exports: Amapiano tours earning foreign exchange. Streaming rights bringing in dollars. International film productions spending on local crews and locations. Cultural exports diversify our economic base far beyond minerals and manufactured goods.
• Identity: When young South Africans can see viable creative careers at home, they are less likely to leave to seek opportunity abroad. The creative economy builds confidence in our national identity — and keeps talent in the country.

A Hidden Truth

Having advised on FIFA World Cup™ and Formula One™ legacy strategies, I’ve witnessed first-hand how mega-events generate temporary jobs. But creative industries are different. They don’t just create work; they create ecosystems.

A mine eventually runs dry. A story can be retold forever.

A factory requires constant inputs. A song plays infinitely at zero marginal cost.

Manufacturing can shift to cheaper locations. Culture cannot be outsourced.

Our creative industries have an inbuilt resilience that traditional sectors lack. They depend on imagination, not extraction. And in an era where technology is levelling global competition, imagination may be our greatest comparative advantage.

The Business Case Is Clear

South Africa’s creative economy is not waiting to be invented — it already exists. What it needs is investment, infrastructure, and policy support.

At the 2026 Future of Jobs Summit™, we will be exploring how creative industries can absorb millions of unemployed youth — not through charity, but through commerce. The global market has already validated our product; what remains is to scale our production.

Public-private collaboration could unlock enormous potential. Consider targeted tax incentives for film and digital production, simplified funding mechanisms for creative entrepreneurs, and export promotion programs for local music, animation and gaming. These are practical steps that have worked elsewhere and can work here.

If we built a coordinated creative economy strategy — one that aligns education, business and government — South Africa could become the continent’s creative capital, exporting not just minerals but meaning.

Culture is Commerce

We often speak as if we must choose between culture and commerce. But the two are inseparable. Every great economy has used culture to power its global influence — from Hollywood to Bollywood, from K-pop to British design. Culture builds brands, attracts tourism, inspires innovation, and sells national confidence.

The question, then, is not whether South African creativity is world-class — the Emmys have already settled that. The real question is whether we will keep treating it as entertainment or start treating it as enterprise.

South Africa’s next economic frontier is not beneath our soil — it’s in our stories. Are we going to keep exporting raw talent? Or are we finally ready to build an industry that exports finished products — ideas, art, and imagination?

Dr Nik Eberl is the founder and executive chair: The Future of Jobs Summit™ (Official T20 Side Event). He is author: Nation of Champions: How South Africa won the World Cup of Destination Branding.

*** The views expressed here do not necessarily represent those of Independent Media or IOL.

BUSINESS REPORT