Shaka iLembe and the rise of African storytelling

It has become clear that the South African television industry is finally finding its rhythm when it comes to offering a diverse range of content for its viewers.

For nearly two decades, a handful of iconic soapies on SABC and eTV held a monopoly over local screens. But audience patterns shift, and viewers eventually demanded more and better storytelling. That’s when telenovelas began dominating, with shows like Isibaya, The River, Gomora, and dramas such as Rockville and The Maid redefining prime time.

Streaming platforms also entered the game. Showmax, with arguably deeper pockets, leaned heavily into local stories, giving us The Wife, Adulting, and most recently Outlaws, all successful in their own right.

This evolution of storytelling was top of mind at the AVIJOZI Festival, Johannesburg’s open-to-the-public celebration of animation, VFX, gaming, and film production, where “screens glow, panels spark, and makers meet their audiences.” The festival was held at Summer House, and I was lucky enough to attend.

Spotlight: Shaka iLembe

One of the most anticipated sessions was The Making of Shaka iLembe. In my opinion — admittedly biased as a Zulu person, this is the greatest story retold and produced in South Africa.

The discussion, moderated by VFX producer Leona Naidoo, featured lead actor Lemogang Tsipa (Shaka Zulu), cinematographer/director Zeno Petersen, and writer/producer/director Adze Ugah. The room was filled with young, aspiring filmmakers, actors, and visual artists and it was clear Tsipa had already become something of a rockstar to them.

From the outset, the panel promised (and delivered) a deep dive into the making of this groundbreaking series, a retelling of Shaka’s rise, rich with detail and authenticity.

The story of Shaka has, of course, been told before. The classic 1986 SABC miniseries starring Henry Cele, largely in English, shaped many childhoods and was rerun internationally. But Shaka iLembe, produced by Bomb! Productions set out to go further. Eight years of research and preparation laid the groundwork for what we now see on Mzansi Magic.

Petersen emphasised that the heart of getting it right was “putting culture and language elements at the forefront.” The series is primarily in isiZulu, with Season 2 expanding into the Xhosa tribes and the inevitable arrival of the British.

Ugah highlighted the show’s visual beauty:

“Every frame and shot is front and centre. It's what I believe makes the show look so great, we're celebrating things that we are.”

He also spoke about the importance of music in elevating storytelling and stressed the collaboration behind the production. With four directors, each had a focus; Ugah, for instance, handled action scenes. He explained the complexity of shooting with large casts, where even a wardrobe malfunction could mean reshooting a scene. CGI became critical in pulling off many of these ambitious sequences.

Naidoo then posed an important question: how vital is it for South Africans to tell their own stories?

Petersen answered:

“I think it is very important. We don't get a lot of opportunities to do that on this kind of scale. So when we do get it, we try to make the best out of it. Hopefully, one day the world can look back at this and say they are capable of producing shows that rival anything out there.”

Tsipa added his own reflection: “I have the privy of working on a lot of international productions, but I find there is a certain magic when we, who understand the intricacies of these things, don’t have to further explain. It's extremely important, so we can preserve our culture and showcase what we can to the world.”

He also shared a surprising fan encounter with a white viewer, a reminder that while Shaka iLembe might be assumed to resonate primarily with Zulu people or black audiences, its reach cuts across communities.

Impact and recognition

This is MultiChoice’s largest production to date. Season 1 created over 8,000 jobs; Season 2 doubled that to more than 16,000. Beyond employment, the series has showcased South Africa’s landscapes to both local and international audiences. It has become the most-awarded drama in South African Film & Television Awards (SAFTAs) history and has earned recognition abroad, including in the Netherlands.

Petersen said he feels “honoured and humbled” by the show’s reception over the past two seasons. The good news? It has been renewed for a third and final season. Ugah added that the project was years in the making — involving historians, research on everything from diet to bathing, and meticulous attention to hair, makeup, and wardrobe.

Seasons in review

• Season 1 charted Shaka’s rise into manhood, with Queen Nandi’s resilience and Dingiswayo’s defiance shaping his destiny.

• Season 2 expanded his story as ruler, strategist, and visionary, while weaving in Swati and colonial narratives.

• The upcoming final season promises betrayal, war, and the looming shadow of colonial expansion.

As the panel wrapped, it became clear that Shaka iLembe is more than just a show; it’s a marker of what South African television can achieve when culture, research, and collaboration lead the way. The AVIJOZI Festival itself echoed this spirit, immersing young creators in screenings, conversations, and networking opportunities that celebrated African ingenuity.

Africa writes its own AI story

Both Avijozi and Fak’ugesi form part of a larger journey; they are part of Artificial Intelligence: A New Frontier for the Audiovisual Sector, a three-part programme led by IFAS and its partners. It debuted at Avijozi last month and continues at Fak’ugesi in October with a focus on practice and policy, and concludes in December at Playtopia and Africa Games Week, where gaming and interactive media take centre stage.

Across all three chapters, the goal is clear: Africa isn’t just reacting to global AI shifts — it is shaping the narrative.