By Themba Gwejela
In debates about South Africa’s media future, two claims often surface at the same time: that the future of broadcasting lies entirely in streaming, and that “nobody watches the SABC anymore.”
Both arguments overlook something important. They fail to recognise how the public broadcasting ecosystem actually works, and the role it continues to play in South Africa’s media landscape.
Public broadcasting exists to fulfil a public service mandate. Unlike purely commercial media organisations, its role is not only to generate revenue or chase ratings. Public broadcasters exist to inform, educate and entertain, while reflecting national culture and serving audiences across languages and communities.
This mandate fundamentally shapes how public broadcasters operate.
Across the world, public broadcasters are typically funded through a mix of sources, including licence fees, public funding and limited advertising. Very few rely primarily on commercial revenue.
The SABC is unusual in this regard. More than 80% of its funding comes from commercial activities, making it one of the most commercially dependent public service broadcasters globally.
What is often overlooked is that this funding model does not only sustain the broadcaster itself, it also supports an entire creative economy.
Every commissioned programme, whether a drama series, documentary, children’s show or entertainment format, creates work across a wide creative value chain. Independent production companies, writers, directors, actors, presenters, technicians, editors and composers all form part of this ecosystem.
Public broadcasting therefore remains one of the largest investors in local storytelling and creative talent in South Africa. Each production helps sustain jobs while ensuring South African stories continue to be told by South Africans.
Yet the funding model that supports this ecosystem has come under growing strain.
South Africa’s television licence fee currently stands at around R265 per year and has remained largely unchanged for about 14 years. Over that period, the cost of producing content has risen significantly. Production budgets have increased, technology infrastructure has become more expensive, and audiences increasingly expect content to be available across multiple platforms.
At the same time, licence fee evasion remains high, further reducing the available funding pool.
The result is a system that is increasingly expected to deliver more with fewer resources.
Audiences expect high-quality local dramas, trusted news coverage, children’s programming, sports broadcasting and digital platforms that allow them to watch content wherever and whenever they choose. Meeting those expectations requires significant investment.
Sport provides a useful example of how this ecosystem functions. Major sporting events do not simply appear on television – broadcast rights must be purchased, and globally those rights have become increasingly expensive. In fact, broadcast rights revenue is a major source of funding for professional leagues, national teams and development programmes across many sporting codes.
In South Africa, certain sporting events are designated as events of national importance, meaning they must be available on free-to-air television. However, those rights still need to be purchased using the same revenue pool that funds news, local productions and digital platforms.
Understanding this ecosystem also helps explain another widely repeated claim: that nobody watches the SABC anymore.
The reality is that South Africa’s television landscape is structured around two types of platforms: free-to-air broadcasting, such as the SABC and e.tv, and subscription television services such as DStv.
The key difference between these platforms is access.
Free-to-air television is available to any household with a television set and the ability to receive a signal. Subscription services require a monthly fee. That difference significantly shapes audience reach.
Because free-to-air television remains the most accessible platform, it continues to deliver the largest audiences in the country.
This is why many of South Africa’s most watched programmes regularly appear on SABC and eTV channels. Shows such as Skeem Saam, Generations and Uzalo have remained among the most widely watched programmes in the country for years.
Another detail often overlooked is that South African broadcasting regulations require Pay-TV operators to carry the free-to-air channels. These “must-carry” rules ensure that public broadcasting services remain widely accessible across platforms.
Public broadcasting, therefore, is about far more than television channels.
It is a national media ecosystem that supports local storytelling, sustains thousands of jobs and ensures that a country can see and hear itself reflected in its own media landscape.
In a rapidly evolving digital environment, recognising and sustaining that public value has never been more important.
About the author
Themba Gwejela is the Group Executive: Corporate Affairs and Marketing at the SABC.
