The inaugural Festival celebrated the official opening and dedication of the 1820 Settlers Monument Building. Operating as a living monument to the cultural heritage of all South Africans, the building contains numerous venues, from a spectacular 1000 seater auditorium to small meeting rooms, including a fully functional kitchen, banqueting area, bar and coffee shop. The Monument is the centre of operations for the National Arts Festival, the Grahamstown Foundation, SciFest Africa, the National Schools Festival, the English Olympiad, and many more! During the National Arts Festival, it is one of the main hubs of activity. In 1974, the Festival ran…Read More

1976’s festival was officially called the Shakespeare Festival. As the name suggests, the programme was focused on fostering an appreciation and enjoyment of Shakespearean drama, and included performances and films of an incredible variety of his works, from Richard III, Macbeth and Othello to A Midsummer Night’s Dream, Romeo & Juliet and Love’s Labours Lost.  But it wasn’t just the classics on offer. Dawn Lindberg returned to our stages with The Shrew – a reimagining of The Taming of the Shrew, written by Charles Marowitz. Two plays authored by Pieter Dirk-Uys – already a formidable talent, though not yet a…Read More

Steve Biko, leader of the Black Consciousness Movement, dies in police custody after severe assault, sparking outrage both locally and internationally. His death exposes the brutality of the apartheid security apparatus and becomes a powerful symbol of resistance against oppression. The global response intensifies calls for sanctions and isolation of the apartheid state, while within South Africa, Biko’s legacy continues to inspire activism, pride, and a renewed commitment to psychological and political liberation.

This time called the Five Roses Festival of the Arts after a new sponsorship, the 1979 Festival was produced in collaboration with the then-named Department of National Education. The effect of this collaboration is self-evident in the programme for this year which, in addition to what had become the regular offering of gala concerts, orchestras, and films, emphasized another strong Student Festival and a prominent series of Winter Schools.  Then, as now, student theatre was often daring, experimental, and prone to pushing the boundaries of traditional modes of theatre practice. The printed programme for this year contained a fascinating disclaimer:…Read More

1980 was perhaps the first time that the then-named Five Roses Festival of the Arts had a programme that so closely resembled the structure of the National Arts Festival today. The curated programme was filled with Classical Music, Jazz, Opera, Fine Arts Theatre, and Film, and with artists who have continued to make regular appearances on our stages to the present day. Waiting for Godot, to name but one example, played at the Rhodes University Theatre, with a phenomenal cast that included the likes of John Kani, Winston Ntshona and Pieter-Dirk Uys. Jazzart, South Africa’s oldest dance company, made their…Read More

1983 was a milestone for the National Arts Festival and its ability to showcase and promote indigenous artists. Whilst the Festival has always welcomed art and artists from all backgrounds, ethnicities and cultures, 1983 marked the first year that the Festival was able to place these voices firmly in the centre of the programme.  Dudley Hopkins, the Chairman of the Festival Committee, addressed the question of racial representation – then a radically contentious issue in South Africa – directly: “…the spotlight this year focuses in the main on South Africans – both living and dead. It has long been our…Read More

Affectionately called the Festival of Celebration within the arts community, the 1984 Festival marked the 10th anniversary of the National Arts Festival. It was also the beginning of a long and mutually beneficial partnership with Standard Bank, who took over as the primary sponsors. Now known as The Standard Bank National Festival of the Arts, the scale of the Festival programme increased dramatically, both to celebrate the achievement of a decade’s worth of dedication to the Arts, and as a result of how popular the festival had become with artists and audience members alike.  In tribute to its origins and…Read More

A nationwide State of Emergency is declared by the apartheid government, granting sweeping powers to security forces amid escalating resistance and unrest. The measure allows for mass detentions without trial, censorship of media, and the suppression of political activity. While intended to restore control, it intensifies both internal opposition and international condemnation. The State of Emergency becomes emblematic of the regime’s crisis, highlighting the unsustainability of apartheid and accelerating pressure for meaningful political reform.

As civil unrest continued into 1987, the Festival continued to use its platform to promote diversity and inclusion for all South Africans. The value of the work done in the artistic sector at this time was profound, and was encapsulated beautifully by Jan Breitenbach’s introduction to the 1987 Festival: “In these times of social, political and economic uncertainty in South Africa the 1820 Foundation feels privileged to present the exciting Standard Bank National Arts Festival. The programme which has been compiled is well-balanced and stimulating – and perhaps more importantly, it transcends all the barriers which divide our people, because…Read More

The Fall of the Berlin Wall marks the symbolic end of the Cold War and signals a global shift away from rigid ideological divisions. Its collapse accelerates democratic transitions across Eastern Europe and reshapes international political dynamics. For South Africa, this moment is significant as it contributes to changing global attitudes toward authoritarian systems, indirectly influencing the apartheid government’s willingness to enter negotiations and reintegrate into an increasingly interconnected and

The apartheid government announces the unbanning of the African National Congress (ANC) and other liberation movements, signalling the beginning of formal negotiations toward a democratic South Africa. This landmark decision follows years of internal resistance and international isolation. The move allows previously prohibited organisations to operate openly and engage in political processes, marking a decisive shift away from apartheid and laying the groundwork for the transition to majority rule and constitutional democracy.

At the start of the new decade, the National Arts Festival naturally reflected on its growth over the preceding fifteen years. In his Festival Message, Professor Alan Crump – Chairman of the Festival Committee – reminded festival goers that the Fringe had begun with just five events in 1978! There were 21 events in the 1982 Fringe programme, and by 1989 had over 330 events. That year saw the sale of 60 000 Fringe tickets, an increase of 44%, while the Main Festival’s ticket sales grew by 32%. Such promising growth and scale placed the Festival unequivocally amongst international events of…Read More

Nadine Gordimer is awarded the Nobel Prize in Literature, recognised for her powerful writing that confronts the moral and social complexities of apartheid. Her work brings international attention to the lived realities of South Africans under segregation, reinforcing the role of literature as both witness and resistance. This achievement highlights the global impact of South African cultural voices during a period of profound political transition.

The assassination of popular ANC and SACP leader Chris Hani nearly derailed the peace process, but Nelson Mandela’s subsequent plea for calm helped secure the transition.

South Africa holds its first democratic elections, allowing citizens of all races to vote for the first time. The election represents the formal end of apartheid and the beginning of a new constitutional democracy. With millions participating peacefully, it stands as a powerful symbol of national unity and transformation. This milestone not only reshapes the country’s political landscape but also repositions South Africa within the international community as a nation committed to equality, human rights, and inclusive governance.

As is often the case, there were a number of programme elements in 1995 that beautifully showcased the arts’ unique ability to encapsulate moments of history and culture. One such installation was the work of that year’s Standard Bank Young Artist for Visual Art – Jane Alexander. Working primarily in plaster, Alexander was interested in socio-political integration and issues of inheritance. Her work probed the question of how “self-awareness impacts on integration and the establishment of a new society,” while encouraging the viewer to observe without judgement. Another special piece of work was the play Marabi at Graeme College. Written…Read More

South Africa formally adopts its new Constitution, widely regarded as one of the most progressive in the world. It enshrines a comprehensive Bill of Rights, guaranteeing equality, dignity, and freedom for all citizens. The Constitution establishes the legal and institutional framework for a democratic society grounded in accountability and the rule of law. This milestone represents a foundational moment in the country’s transformation, embedding the values of human rights and social justice at the heart of governance.

 Despite being well into its third decade, the 1998 Festival boasted a number of exciting firsts! On the Curated Drama programme there were no fewer than eight plays written by South Africans. Of the total of 11 productions, seven were premieres. Brazilian actress and playwright Denise Stoklos made her first appearance in our country, as did Pulitzer Prize winning dramatist August Wilson. The State Theatre Ballet, now in its 35th year, came to Makhanda for the very first time, and Brett Bailey brought Ipi Zombi. Elsewhere in the programme were more familiar faces:, Reza de Wet and Marthinus Basson staged…Read More

The first festival of the new millennium contained an incredible 227 live performances! The festival committee in that year was a powerhouse of well-known professionals, including: Mannie Manim, Guy Butler, Richard Cock, Marthinus Basson, Khayalethu Lennox Faba, Ingrid Fiske, Vicki Karras, Melanie Hillebrand, Sibongile Khumalo, Mokale Koapeng, Ramolao Makhene, Tale Motsepe, Sydney Selepe, Lara Foot, Andrew Verster, Trevor Steele Taylor, and Peter Voges. The State Theatre Ballet presented The Merry Widow, and the City Theatre and Dance Group staged Robyn Orlin’s ‘daddy, I’ve seen this piece six times before and I still don’t know why they’re hurting each other.’ This…Read More

Coordinated terrorist attacks in the United States reshape global geopolitics, security frameworks, and economic systems. The impact is felt worldwide, influencing international relations, travel, trade, and policy environments. For South Africa, as part of the global economy, these shifts contribute to changing dynamics in security, diplomacy, and economic interdependence, highlighting the increasing interconnectedness of global events and their local implications.

Building on the success of the previous year’s model, 2003 saw two new sponsors added to the partnership that already included the NAC, EC DSRAC and Standard Bank. This year, the National Lotteries Distribution Trust and the SABC joined the partnership, reflecting the degree to which the Festival had truly become a national event. In order to succeed, the Festival relies on sponsors who truly understand the ethos and ends of our organization, which were beautifully reflected in SABC CEO Peter Matlare’s programme address: “The SABC, as the public broadcaster, considers that arts and culture, in their broadest sense, are…Read More

2004 was a year of milestones – South Africa celebrated 10 years of democracy, the National Arts Festival celebrated its 30th birthday, and Rhodes University celebrated its 100th year. In art, as in life, the celebration was also touched with sadness, as we bid farewell to a beloved member of the Festival family. Mr Ramolao Makhene, who served on the Committee of the National Arts Festival for 15 years, passed on the 13 July 2003, very shortly after the end of that year’s festival. Having been an integral part of the programme planning and curation for an extended period, he…Read More

A familiar name appears in a surprising place in the 2006 programme! Former Artistic Advisor, Roy Sargaent appears in a new capacity – as director of Artscape’s The Boy Who Fell From the Roof. Another familiar name should be Churchill Madikida, the 2006 Young Artist for Visual Arts. His exhibition Like Father Like Son? was a bold exploration of a difficult subject, which remains hauntingly relevant in our societies today: “It is widely acknowledged that children need structure, security, stability and attachment to develop and flourish. Issues such as high divorce rates, new family structures, increased mobility, women’s liberation etc.…Read More

For many years, the Jazz programme had been a favourite amongst festival audiences. Despite withdrawing as the primary sponsor, Standard Bank continued to sponsor more niche elements of the programme, including the Standard Bank Jazz Festival, and the Youth Jazz Festival. The Jazz programme, always vibrant and varied, includes performances from seasoned professional to emerging students, local artists and international guests, and everyone in between! In 2007, the lineup included husband and wife duo Nathasha Roth and James Scholfield, the Dutch Jazz Connection – an ensemble from the Netherlands – and the Swiss/South African Quintet. School and Youth bands were…Read More

The collapse of Lehman Brothers triggers a global financial crisis, leading to widespread economic instability and recession. South Africa experiences significant knock-on effects, including slowed economic growth, job losses, and increased financial pressure on households and businesses. The crisis underscores the country’s integration into global financial systems and highlights the vulnerability of emerging economies to international market fluctuations.

Seasoned festival attendees might have noticed that, in 2012, the programme was slightly edgier and more daring than it had been in the past. Explaining this choice, the new Chairperson of the Artistic Committee Jay Pather, explored the role of the Festival, and the arts, in the contemporary political landscape:      “In our deliberations at the National Arts Festival, the number of applications that we receive is demographically skewed. It is a sad reflection of how far we have come (or rather, not) in attempts at education and development, redress and funding opportunities. A disturbing trend recurs. Young black artists emerge…Read More

Where Jay Pather’s welcome to the 2012 Festival highlighted the innovation of that year, his greeting in 2013 was more what he himself called “a call to realism.” The 2013 programme was burdened by many of the same cares that affect the National Arts Festival, and arts organisations nationwide, today. A lack of funding, coupled with a lack of clarity and slow delivery of the available funding, resulted in a programme in which, tragically, many works were proposed and accepted by the Artistic Committee, but were subsequently unable to be brought to fruition. As Jay described this: “in sum what…Read More

VIBRANT FORCE FOR ADVOCACY AND CHALLENGING THE CONSCIENCE – A message from the Artistic Committee “The 2015 programme of the National Arts Festival has been shaped by diverse threads: the heated national debate surrounding the legacies of South African history; significant anniversaries of a number of arts icons; the global public engagement concerning the limits of creative liberty; and the Festival’s commitment to free expression and to human dignity. We pride ourselves on providing opportunities for South African artists to take creative risks in expressing themselves with integrity about matters that concern them. We recognise the arts as vibrant forces…Read More

In his final year as Artistic Director, Ishmail Mohammed had organized the 2016 programme into Curatorial Strands – themes running through the diverse programme elements, allowing it to be understood both in parts and as a whole. These six Curatorial Strands were: Celebrating Women; Conflict & Resolution; the Politics of Identity; Legends & Legacies; Re-imagining Classics; and Art for Art’s Sake. Each of these strands was intended to entertain, inspire and challenge, in ways best suited to the nature of each piece. Within these strands, the Curated programme included Scorched with Jaques de Silva and Cherae Halley; The House of…Read More

With an ale unveiled the year before, you might be forgiven for thinking the Festival could have nothing more exciting up its sleeve for 2018. But you’d be wrong! This year, the Festival hit the digital ground running with the launch of the brand new app! Not only could audience members now book tickets with just a tap on the screen, it was also possible to stay up to date with award winners and reviews, as well as to explore Grahamstown with a selection of handy maps and live updates on the Festival Hoppers. For the first time, the arts…Read More

Nigerian writer Wole Soyinka is awarded the Nobel Prize in Literature, becoming the first African recipient of the honour. His recognition signals a major moment for African literature and intellectual thought on the global stage, affirming the cultural and political significance of African storytelling. For South Africa and the broader continent, this achievement underscores the growing international visibility of African voices during a period of intense political struggle and cultural expression.