The recent Discover Summit 2024 by GFC in Sandton Conversion Centre which was supposed to be a beacon of hope for filmmakers across Gauteng. However, what ensued was nothing short of a disaster, revealing deep-seated issues of classism and organizational incompetence within the event.
Scheduled to commence at 8:30 am on May 9th, 2024, attendees were left waiting for hours as the event finally kicked off at 11:45 am, a blatant disregard for the time and professionalism expected from such a gathering. This delay, reminiscent of Orwell’s “Animal Farm,” where some animals were more equal than others, set the tone for what was to come.
One of the most egregious failures of the summit was the abysmal treatment of over 200 artists who were left hungry and neglected throughout the day. Despite promises of catering, breakfast was nowhere to be found, and lunch was a dismal affair with unappetizing food served. It took the intervention of the Imbizo Magazine team to highlight the plight of starving artists, eventually leading to protests and calls for the event to cease.
Even more appalling was the distinction made between VIPs and other attendees. While VIPs were lavished with breakfast, lunch, and snacks, the remaining artists, including disabled individuals, were treated as an afterthought, receiving a single piece of KFC at the event’s conclusion. Such blatant favoritism only serves to exacerbate the already glaring class disparities present in the industry.
The choice of panelists further underscored the summit’s disconnect from the filmmaking community. Instead of industry experts, the panel was dominated by politicians who demonstrated a profound lack of understanding of the technical nuances of filmmaking. Their inability to address basic questions only highlighted the misguided priorities of the organizers.
Moreover, the summit’s purported transition to an State Owned Entity raises questions about the motives behind such a move. Is this simply another attempt by ANC-affiliated organizations like CCIFSA to exert control over the creative industry? The inclusion of leaders from various stakeholders, poised to sign memoranda, only adds to the skepticism surrounding GFC’s intentions.
Perhaps most concerning is the funding model employed by GFC, mirroring the restrictive practices of many arts funding organizations. By dictating the types of concepts deemed worthy of funding, they stifle artistic freedom and limit the potential for innovative storytelling. This perpetuates a cycle where artists are forced to conform to government agendas rather than explore their creative visions.
“From our engagement with the attendees, we found that almost 55% of people were not art practioners within the audinace which was invited.”
In conclusion, the Discover Summit 2024 debacle serves as a stark reminder of the systemic issues plaguing the filmmaking industry in Gauteng. From classism and incompetence to political interference and restrictive funding models, it is evident that meaningful change is desperately needed. It is time for stakeholders to hold organizations like GFC accountable and demand transparency, equity, and genuine support for theartistic community. Anything less would be a disservice to the vibrant and diverse voices that enrich our cultural landscape.
