Beyond the Brief: Rethinking Entrepreneurial ‘Readiness’ for Women in Creative Industries

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I. Introduction: The Unseen Gap

From global frameworks like Sustainable Development Goal 5 to national instruments like Broad-Based Black Economic Empowerment (BBBEE), the infrastructure for supporting equitable growth in South Africa is developing, and crucial work is underway. For Sibikwa’s Uvuko Creative Arts Entrepreneurship Incubator programme, based in Ekurhuleni, our mandate for a cohort of at least 60% women (my personal mandate of at least 70%) isn’t just about ticking a box; it’s fundamental to our mission of addressing issues of access and exclusion for the creative and cultural sectors within township communities seeking connection to the mainstream economy. Yet, despite this commitment, clear opportunities, and targeted support for all qualifying creatives, a perplexing gap persists specifically regarding women’s participation. Women creatives in Johannesburg’s peri-urban areas are not applying for programmes like Uvuko in the numbers we expect or need. The infrastructure is there, the doors have been opened, and the invitation sent – so what’s getting in the way?

II. The Landscape: The Gap Uvuko Aims to Bridge

Recognizing the potential of young creatives (aged 18-34) to drive economic change and combat youth unemployment, the Uvuko Creative Arts Entrepreneurship Incubator programme is aimed at facilitating them to turn their artistic hustle into a sustainable, growth-oriented business. We see vibrant artistic activity in our communities, however, many find themselves stuck in necessity-driven cycles, struggling to transition towards opportunity-driven entrepreneurship that allows for scaling and long-term business development. This isn’t due to a lack of talent or effort, but rather a landscape marked by persistent gaps that prevent creative potential from translating into sustainable economic success. These gaps include under-resourced infrastructure, fragmented professional networks that limit visibility and collaboration, and stark funding disparities where creative industries receive disproportionately low development funding despite their economic contribution (Gauteng Township Economic Development Act implementation report 2023).

This context creates specific barriers for aspiring creative entrepreneurs looking to grow beyond immediate necessity, with women often facing compounded challenges. They encounter higher hurdles accessing finance (37% higher barriers – Gauteng DED 2023), experience lower rates of formal business registration (<25% of registered businesses are women-led – GCIM 2023), and operate predominantly within hyperlocal, informal networks that, while rich in community, often lack connection to broader industry opportunities and resources needed for strategic growth. As I’ve observed, this can leave highly skilled women contributing significantly but remaining unseen as potential business leaders capable of scaling their ventures. Uvuko exists precisely to bridge this gap – providing the specific business skills, mentorship, funding access, and networks needed to empower local artists, both men and women, to build thriving, sustainable careers, moving beyond survival towards strategic success. This piece, however, focuses on understanding why achieving the crucial goal of significant female participation remains such a challenge.

III. The Programme & the Paradox: Uvuko’s Gender-Inclusive Intentions

Against this backdrop, programmes like Uvuko aim to make a difference. Backed by the Entrepreneurship Development Trust committed to supporting economic gender inclusion infrastructure, Uvuko has a clear mandate: our cohort must be 100% Black South African, between 18-34, and comprise at least 60% women, reflecting the need to actively foster female participation in this sector. Upon my first iteration as the project manager of this programme, I believed this target, within an open call to all qualifying creatives, was easily reachable.

The reality, however, has been that meeting this 60% women requirement demanded intensive groundwork. We couldn’t simply rely on online applications attracting a balanced cohort organically; we had to proactively scout for female talent, make direct calls, and rely heavily on referrals from other women creatives and community leaders. While many male counterparts applied readily, sometimes even speculatively from outside the creative sector, numerous highly eligible women remained invisible to our formal recruitment channels. Towards writing this, I conducted a quick online questionnaire with previous participants about their journey into the Uvuko programme. What came up frequently among women was an initial scepticism or hesitation, attributed to the greater risks women often face as primary carers and income providers, that seemed to hold them back from applying.

IV. Internal Barriers: The Mindset That Keeps Women Out

The recruitment challenge points beyond structural issues to deeper, internalized barriers specifically impacting women. The data confirms what we observe: a pervasive lack of confidence often prevents women from seizing opportunities. Research shows women in township arts organisations are 3 times more likely than men to attribute success to “luck” rather than skill (HSRC), and 68% fear being labelled “unfeminine” for pursuing leadership. They grapple with the “double burden” of caregiving and creative work, face discomfort with financial discussions (Rhodes 2022), and often undervalue their own work by 30-40% (UJ CSD 2023).

This manifests as a crippling sense of “I’m not ready.” I recall Lindiwe Hlatshwayo, a talented visual artist creating beautiful beaded pixelated art but hesitant to apply to Uvuko in 2023. She went on to be one of the top 2 winners, demonstrating immense growth. Her initial hesitation wasn’t due to lack of skill or vision, but a perceived lack of readiness – a stark contrast to the confidence displayed by male applicants who might apply regardless of meeting all criteria. There’s a disconnect between who these women are – experienced, skilled, practicing creatives with running businesses – and what they believe qualifies them for programmes like Uvuko.

V. Embodied Narratives: What This Looks Like in Practice

This internalized mindset isn’t abstract; it shows up in tangible ways among the women we engage with. It’s the reluctance to pitch ideas confidently, the hesitation to charge market rates for intricate craftwork, the discomfort with identifying as an “entrepreneur” or “leader”. It’s the fear of visibility (Rhodes 2022) that keeps incredible talent hidden within informal networks. Lindiwe’s story is just one example of countless women creatives holding back not because they lack ability, but because they’ve absorbed narratives that tell them they don’t quite belong in these spaces, or aren’t yet “good enough.”

VI. Conclusion: The Women Are Already Doing the Work

The women creatives we seek for programmes like Uvuko are not missing; they are deeply embedded in their communities, creating, innovating, and often sustaining households through their work. They simply aren’t always visible through conventional channels, or they don’t see themselves reflected in the language of formal entrepreneurship programmes targeting growth and scale. My motivation for writing this is simple: I want these women to know they are capable, they are ready, and they need to start taking up space as the leaders they already are.

Uvuko, and programmes like it, don’t need perfection; we need potential, passion, and the willingness to grow – qualities these women possess in abundance. As a sector, we must shift how we frame leadership, success, and readiness. We need to move beyond just opening doors and actively invite women in, assuring them that their experience is valid, their voices are needed, and their potential is precisely what we are looking for to build a truly inclusive creative economy. The transformation we’ve seen in women who complete the programme – realizing their capability and the possibility of their dreams – shows the incredible impact that awaits when we get this right.

Supported Reading

The Socio-Economic Landscape of the Creative and Cultural Industries in Local South African Communities