Gayton McKenzie’s Transparency Reveal Sparks Scandal: Makhadzi, Mohale, and the R72 Million Question
In 2024, South Africans witnessed a dramatic shift in the Department of Sports, Arts, and Culture with the appointment of Gayton McKenzie, the new minister determined to inject transparency into the country’s creative and sports sectors.
His bold move involved releasing a staggering 90-page document that listed thousands of beneficiaries who received COVID-19 relief funding during the 2020/2021 lockdown.
With payments totaling over R72 million, the public was stunned by the number of high-profile names among the recipients, including celebrities and influencers from various fields.
McKenzie’s decision to unveil the list sent shockwaves through South Africa, sparking debates and controversies that would reverberate across social media for weeks.
The list revealed a total of 3,962 beneficiaries who had received relief funding meant to assist artists, sportspeople, and creatives during the height of the COVID-19 pandemic.
The Department of Sports, Arts, and Culture had set up a panel to vet the applications, with the funds being a one-time payment designed to ease the financial burdens caused by the pandemic, as public gatherings and events were suspended.
The exact amount allocated was a staggering R72,036,097.14, with payments ranging from R2,000 to R75,000.
The release of this list didn’t just highlight the scale of the payout; it brought the names of some of South Africa’s most prominent figures into the spotlight.
Among those named were Mohale Motaung, the ex-husband of TV and radio personality Somizi Mhlongo, who received R75,000 for his business, Glam Troupe, which specializes in matric dance makeovers.
This raised eyebrows due to Motaung’s public persona as an influencer and businessman rather than a creative directly involved in the arts.
Neo Nqwakuza, also associated with Motaung through the company All in Management, also secured R75,000. Similarly, Pfunzo Mcgyver Mukwevho, who is believed to have connections to popular podcaster Mac G, received the same amount.
The revelations didn’t stop there, as iconic figures in the music industry were also included, such as veteran kwaito artist Arthur Mafokate and his son, Arthur Junior Mafokate, both of whom received R20,000.
But the most controversial name on the list was that of BET Award-winning singer Makhadzi.
The “Number 1” hitmaker had recently stated in an interview on Podcast and Chill that she had not received any support from the Department of Sports, Arts, and Culture for her trip to Los Angeles to attend the BET Awards, where she won the Best New International Act award.
McKenzie’s revelations about Makhadzi’s substantial earnings from the department seemed to contradict her claims.
According to the department, Makhadzi had been booked to perform at several national events over the past 14 months, earning a total of R230,000.
This left many wondering whether the artist had failed to disclose her full benefits from the department, while publicly downplaying any support.
Makhadzi, however, was quick to respond. In a live Facebook session, she vehemently rejected the department’s statement, claiming that she had earned the money she received through bookings and performances, not through any government “handout.”
“I didn’t eat any money,” she said, in a direct challenge to the narrative being spun.
“They must reveal the people that ate the money for the department, they must reveal the real names of the people that were funded unlawfully.”
The singer further criticized the department for undermining her work, adding, “I’ve been doing a lot of things that need funding and no one has been funding me, and I was okay with that, I never said anything.”
The situation grew more tense as the public’s reactions flooded social media.
Fans and critics alike began to question the fairness and transparency of the funding process, with some accusing the department of misallocating funds to individuals who were already financially stable or well-known in the industry.
One of the most vocal criticisms came from social media users who expressed disappointment in the department’s decision to publicize the list without providing clear context or justification for why certain figures, like Makhadzi, received substantial sums while others seemingly struggled to get any support.
Others, however, defended the process, acknowledging that the relief funding was crucial during a time when the arts and entertainment sectors were hit hard by the pandemic.
“It’s not about how much money was given, it’s about the fact that these artists and creatives were able to survive and continue their work despite the challenges,” one fan wrote on Twitter.
Still, the situation remained murky, with many wondering whether the government’s efforts to support the creative community were transparent enough or if the system was being exploited by certain individuals or businesses connected to influential personalities.
McKenzie, who had been pushing for increased transparency in government spending, seemed undeterred by the backlash. He stood by his decision to release the names, seeing it as an important step in holding the department accountable to the public.
“We need to know where the money went,” McKenzie said in a statement, emphasizing the necessity of openness, even if it meant airing some uncomfortable truths.
Despite the drama surrounding Makhadzi’s statements and the public scrutiny of celebrities benefiting from the relief funds, the controversy sparked an important conversation about the role of government in supporting the arts, and whether that support always goes to those who truly need it.
The release of the list revealed both the positive impact of the relief efforts and the unintended consequences of transparency.
While some beneficiaries genuinely needed the support to survive the pandemic, others raised suspicions as to whether the funds were fairly distributed.
As the fallout continues to unfold, one thing is certain: Gayton McKenzie’s push for transparency has brought to light the complexities and contradictions of government aid during a crisis.
Whether or not the public will fully support his approach remains to be seen, but it’s clear that the release of these documents has ignited a broader conversation about fairness, accountability, and the role of public figures in receiving state funds.
For Makhadzi, the matter is far from settled, and with her fiery response, it’s clear she won’t be backing down any time soon.
