David Kau shares the ups and downs of Blacks Only Comedy Club

At the dawn of South Africa's democracy, a young David Kau shook up the local comedy scene as the only black comedian at the Smirnoff Comedy Festival. Twenty-five years later, he continues to be a groundbreaking leader in the field with a festival that flips the script on the tough journey he had to follow with his Blacks Only Comedy Club.

The themes for each show are based on the zeitgeist of South African issues and this year it was “Coalition Pact”, which explores the malcontent nature of coalition agreements in local politics.

Founded in 2004, the comedy special has been a pivotal space for black comedians in the country. Keeping the spirit of Blacks Only alive has been a favourite for many fans, raking in thousands in its first years. While many could not afford to buy the tickets or depended on complimentary access, Kau beams when sharing how things have changed drastically since the earlier days.

However, Kau notes that there are still hindrances for black comedy shows that don't allow them to enjoy the same success as white-led counterparts.

“With all the numbers that black comedians bring to shows, there isn't that much corporate sponsorship,” says Kau, “I was using my own money all those years, which meant when I didn't have any nothing much was going to happen.”

This was also the case for his reality competition show So You Think You Are Funny which delivered the cream of the crop in the industry. Kau and his co-founder still had to struggle for private funding and sponsorship in its two-season run despite the successes of their contestants and winners including Celeste Ntuli, Mpho Pops and Anne Hirsch among others.

“Corporates are scared of the name 'blacks only' and they are not willing to put themselves on the line,” says Kau who shares that corporates can be fickle due to the many small dislikes that arise.

“I sit with a lot of brand managers and marketing managers who love the idea of Blacks Only, but then they must go back to whoever approves the budget or their bosses who are mostly going to be white. They are being asked to sponsor a show that is called Blacks Only and they think they're going to have some flack.”

Kau also notes that blacks who have control of sponsorships in those environments often “don't have the balls” to stand up for ventures like Blacks Only.

Meanwhile, global issues like the writers' strike in Hollywood have brought forward conversations on the rights of the industry's talent. In South Africa, talent in the entertainment industry do not earn any profit from old productions played for nostalgia, meaning less for the stars' wallets. Especially for comedians, who make up a great chunk of South Africa's entertainment industry in the age of artificial intelligence.

“There's never been a place or a group or a union where you could meet other comedians,” says Kau, adding that support is also lacking from the government and there is little initiative from comedians. However, he notes it is also out of an instinct to survive that there is a lack of these collectives.

“You've got some people who will reach a certain level of success and they don't go back to see who else they can help. I think South Africa, at the moment, is at a place where everyone is looking out for themselves, especially in the entertainment industry,” says Kau.