MBABANE – When Mandisa Mamba stepped onto the Honeycomb Stage at this year’s Standard Bank Luju Food and Lifestyle Festival, she did what entertainers are expected to do; entertain.
She sang. She danced. She performed with confidence and energy.
Yet, by the time videos of her set made their way onto social media, the conversation had shifted from her vocals and stage presence to whether her dance moves were appropriate. Some described the choreography as ‘un-African’; others questioned whether she had gone too far, while many simply turned the performance into a punchline.
The criticism itself is not the issue. Art has always invited different opinions. No performer is above critique, particularly when appearing before a family audience. However, the reaction to Mandisa raises a broader question that extends beyond one performance.
This is a question worth asking because the same audiences who criticised Mandisa’s choreography regularly celebrate international stars whose performances are built on equally provocative dance routines.
South African performers such as Makhadzi, Tyla and Kelly Khumalo have all, at different times, delivered bold stage performances that include suggestive choreography. Global superstars, including Beyoncé and Ciara have built careers around highly choreographed productions where sensuality forms part of the performance.
Their videos are shared, celebrated and copied. Their concerts sell out. Their dance moves become trends on TikTok. Yet when a local artist embraces a similar performance style, the conversation often changes. Instead of discussing artistry, audiences question morality. Instead of applauding confidence, they mock ambition.
That contrast should concern anyone who wants to see Eswatini’s creative industry grow. This is not to suggest that every performance deserves universal praise. Some viewers genuinely felt Mandisa’s choreography was excessive for their tastes, and they are entitled to that opinion. Constructive criticism is healthy. It challenges artists to reflect on their work and understand their audiences.
Ridicule, however, serves little purpose. Turning an artist into the subject of jokes does not improve the quality of local entertainment. If anything, it discourages performers from taking creative risks.
Ironically, among the criticism were voices urging people to show the same support they would readily extend to an artist from outside the country’s borders. Others argued that Mandisa’s talent might receive greater appreciation elsewhere, while some reminded fellow emaSwati that criticism should remain constructive because she is our own.
Those comments perhaps captured the heart of the debate better than the insults ever could. Mandisa is hardly an overnight sensation chasing attention through controversy.
She has spent close to a decade building a career that many aspiring musicians would envy. From breaking onto the scene with Power to later releasing songs such as ‘Echo’, ‘Apologise’ and, most recently, ‘Euphoria’, she has consistently developed her sound while representing Eswatini on regional stages.
She has earned award nominations, performed at major festivals and continued creating despite the realities of working in one of Southern Africa’s smallest music markets.
Unlike artists in neighbouring South Africa, Eswatini musicians operate in an industry with less sponsorship, fewer performance opportunities, limited radio exposure and a much smaller audience from which to earn a living.
That reality makes public support even more valuable. Support does not mean blind praise. It means creating an environment where artists can experiment, learn and evolve without every bold decision becoming an invitation for humiliation.
The Standard Bank Luju food and Lifestyle Festival itself has always celebrated creativity, self-expression and the evolution of African culture. Festival-goers expect diversity from traditional performances and indigenous cuisine to contemporary fashion, music and dance. Every artist interprets that freedom differently. Mandisa chose to present herself with confidence and theatrical choreography. Whether audiences loved it or disliked it is ultimately a matter of personal taste.
But perhaps the bigger conversation is not about how she danced. It is about how quickly Eswatini celebrates international performers for doing the very things it sometimes condemns in its own.
If local artists are to compete beyond the country’s borders, they must first survive the scrutiny at home. That requires audiences willing to critique with honesty, but also with fairness. After all, a thriving creative industry is not built by shielding artists from criticism. It is built by ensuring that criticism never overshadows talent.
For reference, Mandisa’s performance is pinned on the Times of Eswatini Facebook page.
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