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A photograph may take only seconds to capture, but the question of who has the right to use that photograph can create a much bigger conversation. For photographers, videographers, event organisers, artists, businesses, families and clients across South Africa, one question continues to cause confusion: If I took the photograph or filmed the video, does it automatically belong to me? Or, if I paid for the service, does the content belong to me? The answer is more complicated than many creatives and clients realize. The issue came into focus during a recent discussion about the relationship between photographers and their clients, particularly when a photographer wants to use commissioned photographs on social media or as part of their portfolio. Imagine this: You book a photographer for your wedding, family shoot, birthday celebration or corporate event. You pay for the service. The photographs come out beautifully. A few days later, the photographer posts some of those images on Instagram to promote their business. The client might ask: “But you photographed me. Why are you posting my pictures without asking me?”The photographer might respond: “But I created the photographs. Surely I can use them to market my work?” So, who is right? The first lesson is that creatives and clients need to understand the difference between the author of a work and the owner of copyright. Under South African copyright law, these are not necessarily the same person. The photographer who creates a photograph can be the author of that work. However, authorship does not automatically answer the question of who owns the economic copyright. The same principle can apply to commissioned audio-visual work. South Africa’s Copyright Act specifically deals with commissioned photographs and cinematograph films. This is where the conversation becomes particularly important for emerging creatives. “I Took the Photograph” Does Not Always Mean “I Own the Copyright” Many photographers and videographers invest heavily in cameras, lenses, lighting, editing software, computers, transport and years of technical training. Naturally, they may feel that because they created the final product, they should control how it is used. But when a client commissions a creative service, the legal position can depend on the circumstances and, importantly, the agreement between the parties. The Department of Trade, Industry and Competition explains that under the existing framework, a person who commissions and pays for certain creative work, including photography, can become the copyright owner, while the person who created the work remains the author. It also recommends dealing with copyright ownership in a written agreement before commissioning creative services. That means a photographer should not simply assume that being the person behind the camera automatically gives them unlimited rights to publish every commissioned image. At the same time, a client should not assume that paying an invoice automatically gives them every possible right over every piece of content either. The contract matters.The Question Every Creative Should Ask Before the ShootBefore accepting a job, photographers and videographers should ask:– Who will own the copyright after payment?– What may the client do with the photographs or videos?– Can the creative use the work in their portfolio?– Can the creative post the work on social media?– Can the client use the work for advertising?– Can the client give the images to another company or publication?– Is commercial use included in the price?– Can either party license the content to someone else? These questions may feel uncomfortable when you are trying to secure a new client, but they are far less uncomfortable than having a dispute after the content has already been published. “Can I Post Your Photos?” This is where things become particularly relevant in the age of Instagram, TikTok, Facebook, websites and online portfolios. A photographer may want to post a client’s photographs because the work demonstrates their skill and could help them attract future customers. From a business perspective, that makes sense. But the fact that the photographer wants to use the photograph for marketing does not mean that the photographer should simply assume permission exists. If the client owns the copyright or the contract restricts the photographer’s use, the photographer needs to respect those terms. A simple clause in the original agreement can make the situation much clearer. For example, the parties could agree that the client owns the commissioned copyright but grants the photographer permission to display selected images in their portfolio and social-media marketing. Alternatively, the parties could agree that the photographer retains copyright while the client receives a licence allowing them to use the photographs for specified purposes. The important point is that both parties should know what they agreed to before the camera comes out. What About Videographers? The same conversation applies to videographers, a videographer may spend days filming an event and additional hours downloading footage, editing, color grading, adding sound and producing the final video. The client may have commissioned and paid for the production, so who controls the final video? Again, creatives should not leave this question to assumptions. The Copyright Act specifically refers to commissioned cinematograph films, while proposed amendments have also sought to update the terminology and provide that ownership of commissioned works would be governed by written agreement. For videographers, contracts should therefore clearly address not only the final edited video, but also questions around raw footage, edited footage, promotional clips, social-media extracts and future commercial use. “But I Want to Be Tagged!” Another issue that frequently causes tension is credit, many creatives want clients to tag them when posting photographs or videos online. That is understandable, a tag can become free marketing for the photographer or videographer. However, being the author and being the copyright owner are different concepts. South African copyright law recognises moral rights for authors. These include the right to claim authorship and, subject to the law, to object to certain distortion, mutilation or modification that prejudices the author’s honour or reputation. That does not mean every social-media post automatically has to contain a photographer’s Instagram handle. Instead, creatives should understand what

The Department of Sport, Arts and Culture (DSAC) has invited eligible and experienced organisations and sector intermediaries within South Africa’s Cultural and Creative Industries (CCIs) to submit proposals for Strategic Partnerships aimed at stimulating economic activity, creating sustainable jobs and expanding markets within the country’s creative economy. The funding opportunity forms part of the Arts, Culture Promotion and Development (ACPD) Strategic Partnerships Funding Programme and is designed to support projects that can demonstrate significant economic and sector-wide impact. The department is calling for proposals that are innovative, implementable, scalable and demand-led, with a particular emphasis on interventions that can address barriers to market access, creative enterprise growth and employment. For the 2026/27 financial year, the Strategic Partnerships Funding Round proposes to prioritise the promotion, preservation, development and continued evolution of significant South African music genres. The intervention will focus on five provincial strategic music areas: Maskandi, Motswako, Hip Hop, Gospel and Kwaito. The initiative forms part of the Department’s broader Mzansi Roar concept, which seeks to strengthen the role of South African cultural expression while creating opportunities for economic participation within the creative sector. According to the funding invitation, proposed projects should go beyond standalone events or activities and demonstrate clear economic and employment outcomes. Applicants are expected to show how their proposed interventions can stimulate demand, expand markets, support creative enterprises and contribute to sustainable job creation. The department is therefore encouraging proposals that can respond to structural or market barriers affecting the creative economy. This could include interventions linked to established festivals, live events, touring, cultural tourism and other commercially viable creative-industry activities. The opportunity is not limited to music organisations. Eligible applicants with a proven commercial track record may include promoters and organisations working across film, music, performing arts, fashion, design, visual arts, heritage and digital creative industries, provided they meet the programme’s requirements. Applicants must be appropriately constituted legal entities with the governance, financial-management and implementation capacity required to enter into a Memorandum of Agreement (MOA) and account for public funds. Experience and demonstrated capacity will also be important considerations. Organisations are expected to have experience implementing established festivals, live events, touring programmes, cultural tourism initiatives or other creative-industry-related projects. Applicants should also be able to demonstrate national or significant multi-provincial reach, established audiences and credible market relationships. The funding threshold advertised for the opportunity is between R5 million and R10 million, while the advertisement period is 14 days. The funding is intended for strategic interventions capable of producing measurable employment, market and economic outcomes rather than isolated activities without clear long-term impact. Successful partnership proposals will be allocated by DSAC to the province in which the strategic project is to be implemented. The department has also indicated that the consideration, recommendation and approval of funding will remain subject to the Public Finance Management Act, Treasury Regulations, approved departmental policies and delegations, and relevant government protocols. For creative organisations considering an application, the opportunity highlights the importance of presenting a strong business case rather than focusing only on the artistic component of a project. Applicants should be able to demonstrate who their market is, what demand exists, how the intervention will generate economic activity, how many jobs or opportunities could be created, and how the project can produce sustainable outcomes beyond the funding period. The focus on demand-led growth also means that organisations should carefully consider partnerships, audiences, commercial relationships, distribution opportunities and measurable market outcomes when developing their proposals. The deadline is approaching, with proposals required to be submitted by 05 October 2026. Interested organisations are encouraged to review the official DSAC funding documentation carefully to confirm the complete eligibility requirements, proposal requirements and submission conditions before applying. Application information:Applicants can access more information through the Department of Sport, Arts and Culture website at www.dsac.gov.za and follow the link for ACPD Strategic Partnerships 2026. Submission email: partnerships2026@dsac.gov.zaClosing date: 05 October 2026 For South Africa’s creative-sector organisations, the opportunity places a strong emphasis on turning cultural and creative activity into sustainable economic participation, employment and market development. Organisations with established audiences, proven implementation experience and the capacity to deliver projects at national or significant multi-provincial level may wish to assess whether their proposed projects align with the programme’s objectives.

For many creatives, having the talent, the idea and the determination is only part of the journey. The challenge often comes when an idea needs resources to move from a concept into something tangible. For members of the Chillers community, Podcast and Chill Network has once again opened a door through its Fund a Chiller initiative, giving applicants an opportunity to tell their stories and seek support for their goals. Podcast and Chill Network has reopened applications for Fund a Chiller, with the current call aimed at members of its community who need financial or business assistance. The latest announcement specifically encourages entrepreneurs, creatives and other members of the Chillers community who need support to submit their applications. The opportunity is particularly relevant to people working in the creative economy, where access to equipment, production resources, marketing, business development and working capital can often determine whether an idea remains an idea or develops into a sustainable project. According to the official Fund a Chiller page, applicants are invited to “share your story” and tell the organisation about themselves, their mission or their goal. The application provides an opportunity for applicants to explain what fuels their passion and how support could help them move forward. This makes the application more than simply a request for assistance. It is an opportunity for applicants to communicate the journey behind their work and explain why support would make a meaningful difference. For an emerging musician, that story could be about developing a new body of work, acquiring equipment or taking a performance project to another level. For a visual artist, it could involve developing a new exhibition or expanding a creative practice. A filmmaker could use the opportunity to explain a production that needs additional resources, while a photographer, designer, writer, fashion entrepreneur or creative-sector business owner could outline what is preventing an existing idea from growing. The current announcement describes Fund a Chiller as providing financial or business support to members of the community who need assistance in taking their personal or business goals forward. Applicants are asked to provide their details and explain their individual stories and circumstances through the application process. The initiative is not entirely new. Podcast and Chill Network has previously documented recipients of Fund a Chiller, demonstrating that the programme has supported people with different circumstances and ambitions. In one 2024 case, Asakhe Rigala received support that he said would help him address a personal challenge while also pursuing his ambitions of starting a baked-goods business. His story was published by Podcast and Chill Network after he was selected as a winner. Another recipient, Rannzwa, was profiled by the network in a story about how the Fund a Chiller initiative supported his poultry-business ambitions. The network’s archive also features the story of Anele, another Fund a Chiller recipient. For creatives considering the 2026 opportunity, one of the most important steps is therefore to take time to communicate the purpose behind the application clearly. Instead of simply saying that funding is needed, applicants can explain what they are building, the challenge they currently face, what they have already achieved and what practical difference support could make. A strong application can also give context to the applicant’s journey. Creatives should consider including relevant experience, previous projects, audiences reached, products created, performances, exhibitions, publications, business milestones or other evidence that demonstrates their commitment to the work. Most importantly, applicants should be specific about their goal. If assistance would be used for equipment, production, marketing, business development or another purpose, the applicant should clearly explain how that support connects to the larger goal. The current Fund a Chiller application page does not publish a fixed funding amount or a detailed list of eligibility requirements. It also does not currently provide an official closing date. For that reason, creatives should not assume that a particular amount of funding is guaranteed or that a specific deadline applies. Applicants should check the official application page for the latest information before submitting their application. What is confirmed is that applications are currently open, and Podcast and Chill Network is encouraging members of its community, including entrepreneurs and creatives, to put themselves forward. For South Africa’s creative community, opportunities such as these can be valuable not only because of the potential financial assistance, but because they encourage creatives to articulate their vision, document their journey and think about what support is actually required to move their work forward. The creative industry is filled with people building careers from limited resources. A musician recording from a home studio, a photographer building a portfolio, a filmmaker developing an independent production, a designer growing a small business or an artist preparing for a first major exhibition may all face different challenges, but the need to turn creative potential into sustainable opportunity remains a common thread. Fund a Chiller offers members of the Chillers community an opportunity to put that story forward. For creatives who believe they have a project, business or personal goal that could benefit from assistance, the next step is to visit the official Podcast and Chill Network Fund a Chiller page, read the current application information and submit their story through the available application process. As with any opportunity, applicants should make sure that the information they provide is accurate and that they understand the requirements published by the organisers before submitting. How to apply: Visit the official Podcast and Chill Network website https://www.podcastandchillnetwork.com/fund-a-chiller/ For creatives, the message is simple: if there is a story behind what you are building, this could be an opportunity to tell that story and explain what it would take to take the next step.

Long before thousands of hip-hop fans gathered at Mary Fitzgerald Square, before international artists shared the Back to the City stage with South African legends and emerging voices, there was a young hip-hop enthusiast trying to create a space for a culture he believed deserved to be seen, heard and taken seriously. That story leads back to Osmic Menoe and the world he began building around Ritual. Today, Back to the City is recognised as one of Africa’s major hip-hop and street-culture festivals. But its history is not simply the story of a festival. It is the story of a wider attempt to build an ecosystem around South African hip-hop, connecting music with graffiti, fashion, entrepreneurship, education, media, performance and the preservation of cultural history. As Back to the City approaches its 20th anniversary, Menoe’s own reflections on the journey provide an opportunity to look back at where it began. Before Back to the City, there was Ritual Media According to Menoe’s recollection, his journey into building hip-hop spaces began while he was still very young. His interest in the culture stretched beyond listening to music. Earlier accounts of his life describe his involvement in graffiti, beatboxing, skateboarding and writing, interests that gradually developed into a deeper commitment to hip-hop culture. His early entrepreneurial journey included the development of Ritual Media and eventually Ritual Stores, a Newtown space that became associated with Johannesburg’s hip-hop community. In Menoe’s recollection, Ritual was far more than a retail outlet. It was a place where people could encounter local hip-hop music, records, clothing, art and sneakers, while also connecting with other people involved in the culture. It also became associated with recording and media activity. Contemporary reporting supports the importance of Ritual Stores within the Newtown scene. In 2007, the Mail & Guardian reported on a Freedom Day event involving Ritual Store and described the shop at the corner of Bree and Henry Nxumalo streets as a venue for workshops dealing with the music business, entrepreneurship and independent creative companies. A later The Journalist profile described Ritual Stores as a “nerve centre” of Johannesburg’s hip-hop scene, with Menoe preparing for Back to the City from nearby Club O.S.T. For Menoe, however, building was not without risk. In a 2025 interview with the Mail & Guardian, he recalled that hip-hop was not yet widely understood as a sustainable industry and that police sometimes raided the store because people misunderstood the activity taking place there. The graffiti, artists and young people gathering around the space contributed to an environment that was unfamiliar to some of the surrounding community. It was within this environment that the idea behind Back to the City began to take shape. From a gathering place to a festival There is a small but important distinction in the historical record, Menoe’s own account places the planning and development of Back to the City in the period before its first festival. Some media accounts describe the concept as beginning in 2006, while the festival’s official archive records the first Back to the City event as taking place on 27 April 2007 under the M1 Highway in Newtown. That first edition was considerably smaller than the festival audiences of today. The official history says the event was initially held on an enclosed driveway under the M1 before moving to the much larger Mary Fitzgerald Square as the festival grew. organizers described the early Back to the City as a event that attracted approximately 3,500 people in its first edition. The festival subsequently grew substantially over the following years. The significance of the event was never restricted to a stage and a lineup. The early festival incorporated workshops, performances and graffiti, while its broader programme created opportunities for different elements of hip-hop culture to occupy the same space. A 2007 report described workshops dealing with the music business, distribution, entrepreneurship and independent creative companies, followed by performances and graffiti activity. That approach remains visible in the festival’s current identity. Back to the City’s official description presents the festival as a combination of live music, street art, breakdancing, art installations, skateboarding, film, street fashion, gaming, education, speakers and panel discussions. Its Hip-Hop Summit component has historically addressed subjects including publishing, distribution, recording, funding and entrepreneurship. The festival was therefore not simply designed to entertain. It was also intended to help people understand how a culture could become an economy. In a 2025 interview with the Mail & Guardian, he explained that his vision extended beyond creating a successful festival. He wanted to develop a sustainable ecosystem in which rappers, dancers, graffiti artists, producers, entrepreneurs and other participants could make a living from their skills. That philosophy can be traced through the development of Back to the City. The festival became a meeting point for different generations and disciplines within hip-hop. Its programme created space for established performers while also incorporating competitions and opportunities for emerging talent. Osmic has cited artists who were visible around the festival in their earlier years and later became major names in South African music. In his interviews, he recalled artists including AKA, ProKid and Riky Rick appearing around the festival during their earlier careers. He also highlighted the festival’s 10K Challenge as a platform for undiscovered talent, pointing to Big Zulu as one artist who came through the competition. This provides an important lens through which to understand Back to the City: not merely as an annual event, but as part of a longer attempt to create pathways into the creative economy. The evolution of Ritual into a broader cultural platform is central to Osmic’s account of his career. Through Ritual Media Group, projects associated with his work expanded beyond the festival. The South African Hip Hop Awards, for example, were launched in 2012 and are organized by Ritual Media Group. The awards’ own archives document their first ceremony at the Alex Theatre in Braamfontein on 21 November 2012, followed by subsequent editions at the Lyric Theatre and later a digital

South African film producers have an opportunity to take their projects to an international platform as the Department of Sport, Arts and Culture (DSAC), in partnership with the National Film and Video Foundation (NFVF), has issued a call for eligible South African producers to attend the European Film Market (EFM) and participate in the Berlinale Co-Production Market Visitors Programme 2027. The programme will take place in Berlin, Germany, from 10 to 16 February 2027, as part of the Berlinale’s international film industry activities. The opportunity is aimed at creating international exposure and participation opportunities for South African producers within one of the major meeting spaces for the global film industry. For South African filmmakers and production companies developing projects with international potential, participation in the European Film Market can provide an opportunity to engage with industry professionals and explore connections around film production and co-production. The Berlinale Co-Production Market is particularly focused on bringing film projects and international industry partners together, making the programme relevant to producers looking to expand their networks beyond the South African market. The DSAC and NFVF partnership places South African producers within the broader “South Africa: Country in Focus 2027” initiative associated with the Berlinale and European Film Market. The initiative is expected to provide an international platform for showcasing aspects of South Africa’s film industry and strengthening visibility for local film professionals. For emerging and established producers, international industry platforms can be an important part of developing sustainable film careers. Beyond producing individual films, access to international markets can open conversations around partnerships, financing, distribution and future collaborations. The call therefore presents an opportunity for eligible producers to position their work within a wider international film ecosystem. Applications close on Friday, 2 October 2026 at 17:00. Interested applicants are required to submit their applications to Leratoh@nfvf.co.za. Producers interested in the opportunity are encouraged to review the full call and application requirements before submitting their applications. The full information is available through the link https://www.nfvf.co.za/call-for-applications-south-african-producers-to-attend-the-berlinale-co-production-market-visitors-programme-2027/ . As South Africa prepares for its Country in Focus presence at the Berlinale in 2027, the opportunity places the country’s producers at the centre of an international conversation about film, storytelling and collaboration. For eligible filmmakers with projects ready for international engagement, the call offers a chance to explore what the global film market can bring to South African stories.

Award-winning South African broadcaster, voice artist, MC and facilitator Ntombi Phiri, popularly known as Ntombi The Voice, is turning nearly two decades of experience behind the microphone into an opportunity to nurture the next generation of storytellers. Phiri will sponsor and present the inaugural Ntombi Phiri Broadcasting Award at Parktown Boys High School, recognising a learner who has made a significant contribution to the school’s growing podcasting programme. The award carries the citation “The Most Significant Senior Contribution to Podcasting” and is set to become part of the school’s senior cultural awards. The initiative comes as podcasting continues to create new opportunities for young people to communicate, tell stories and develop their own platforms. At Parktown Boys High School, podcasting was introduced three years ago and has since become an important part of the school’s creative and communication environment. For Ntombi, the decision to establish and sponsor the award is deeply personal. Having spent close to two decades working in radio and broadcasting, she understands the power of having access to a platform and the confidence that can come from learning how to use one’s voice effectively. “When I heard about the school’s new podcasting award, I immediately felt that this was something I wanted to support personally,” Ntombi said in the media statement. Her contribution goes beyond recognising technical podcasting ability. The award is intended to acknowledge a learner’s contribution to the development and success of the school’s podcasting programme, while encouraging young people to understand that their ideas, stories and perspectives have value. “I love that this award is not simply about being the best speaker or having the best podcast. It is about recognizing a learner who has made a meaningful contribution to the culture of podcasting at Parktown Boys,” Ntombi said. The award also reflects the changing nature of broadcasting and media. For generations, young broadcasters often had to rely on traditional radio and television platforms to reach an audience. Today, podcasting and digital platforms have lowered some of those barriers, allowing young creators to produce, distribute and build audiences around their own content. “The microphone is no longer confined to a radio studio. Today, young people can create podcasts, build audiences and tell stories from anywhere,” Ntombi said, highlighting the importance of giving young people the skills, encouragement and platforms to develop their voices. Her relationship with Parktown Boys High School has developed through her work with Radio 2000 and her involvement in supporting the school’s podcasting initiative. Through that relationship, she has seen the importance of creating pathways between schools and professionals working in broadcasting, media and communications. The annual award is therefore intended to be more than a once-off recognition. By naming it after Ntombi, the initiative seeks to establish a lasting connection between her broadcasting journey and the young people coming through the school. “For me, having my name attached to this award is incredibly special. I hope that one day, when a learner sees the words ‘Ntombi Phiri Broadcasting Award’, they will understand that it represents someone who believed in the power of their voice and wanted to invest in them,” she said. That message is particularly relevant as the creative economy continues to expand beyond traditional industries. Podcasting, digital journalism, voice work, content creation and online broadcasting have created new spaces where young people can experiment with storytelling and develop professional skills. For emerging creatives, however, access to equipment and platforms is only one part of the journey. Mentorship, encouragement and opportunities to have their work recognised can also play an important role in helping young people see creative work as a legitimate pathway. Phiri believes young people have more opportunities than ever to create and distribute their own content. Her focus is therefore not simply on celebrating her own broadcasting career, but on using the experience she has gained to open doors for others. “I have been incredibly blessed in my broadcasting career, and I believe that success becomes even more meaningful when you can use it to open a door for someone else,” she said. The establishment of the Ntombi Phiri Broadcasting Award places that philosophy into action. It creates a space where a young person’s contribution to podcasting can be formally acknowledged while also encouraging learners to take their communication and storytelling abilities seriously. For a creative sector that constantly speaks about developing the next generation, initiatives such as this offer a practical example of what mentorship and legacy can look like beyond conferences and conversations. Ntombi The Voice’s journey from behind the microphone to creating opportunities for young broadcasters demonstrates how professional experience can be transformed into something that benefits others. Through the award, her voice is no longer only being heard through radio, events and broadcasting platforms, it is also being used to encourage young people to find and develop their own. As the inaugural recipient prepares to receive the Ntombi Phiri Broadcasting Award, the significance of the initiative may ultimately extend beyond one learner or one school. It represents an investment in the idea that young people deserve platforms where they can speak, create, experiment and be heard. And perhaps that is the most meaningful part of Ntombi The Voice’s growing legacy: not simply being recognised for having a voice, but helping others discover the power of their own.

Emerging actors, theatre-makers, directors and writers looking to strengthen their skills and take their creative practice to a professional level have an opportunity to apply for a full-time Performance and Theatre Course for the 2027 programme. Applications opened on 1 August 2026, with the closing date set for 30 September 2026. No late applications will be considered. The one-year programme runs from January to November and offers intensive training in a laboratory environment, giving participants the opportunity to learn through practical experience, experimentation, research, creative exchange and the development of new work. Facilitated by professional theatre practitioners, the course is designed for emerging creatives who want to deepen their understanding of performance and theatre-making while developing the discipline and skills required to work professionally in the industry. The programme is open to emerging actors, theatre-makers, directors and writers, with participants expected to attend the full-time programme for the entire year. Successful completion of the first year may also provide an opportunity to be invited into a further nine-month advanced second-year programme. Applicants are required to submit a completed application form, one full-length photograph, a certified copy of their Matric Certificate or most recent school report if they are currently in matric, and a certified copy of their ID. The application also requires a one-page creative writing sample of at least 250 words and a motivational letter explaining why the applicant wants to study at the Lab and why they should be selected. Applicants are encouraged to highlight additional skills and interests that could contribute to the programme, including producing, writing, singing or other creative abilities. One of the key components of the application is an audition video of no more than one minute. Applicants must begin the video by stating their full name, the title of their monologue, the character or characters they will perform, and the author of the monologue. Applicants may perform an extract from an existing play or use an original piece they have written or created themselves. The monologue should present a character experiencing or explaining a particular situation and can be performed in a variety of styles, including realism and physical theatre. Applicants can record the video themselves or have someone assist with filming. The camera should be positioned to ensure that the performance can be clearly viewed. The audition video must be sent via WhatsApp to +27 72 237 9647, with the applicant’s full name included as the caption. For enquiries, prospective applicants can contact The Market Laboratory on 011 838 7498 or email courses@marketlab.co.za. Applications are to be submitted by hand at The Market Laboratory, 138 Lillian Ngoyi Street, Newtown. Ready to apply? Applicants can access the course information and download the application form through the official Market Laboratory course page: Download the Application Form https://www.marketlab.co.za/wp-content/uploads/2026/08/2027-full-time-course-application-1.pdfCourse information: https://www.marketlab.co.za/courses-full-time-2026/ For emerging creatives, the programme offers an opportunity to spend a full year developing their craft in an environment centred on practical theatre-making, collaboration and experimentation. Applications close on 30 September 2026. No late applications will be considered. Application checklist: Important: The supplied application information contains a selection-process date of 18 October 2025, which predates the 2027 application cycle. Applicants should confirm the correct selection/audition date directly with The Market Laboratory.