Prof Sisanda Nkoala, from the Linguistics Department, and Prof Leo van Audenhove, who is a professor at Vrije Universiteit Brussels (VUB), and an extraordinary professor at UWC. Image: Supplied

As South Africa marks a decade since the 2016 arrival of the world’s largest streaming giant, Netflix, researchers at the University of the Western Cape (UWC) have convened an academic symposium to ponder what happens when a Silicon Valley algorithm becomes the primary curator of African culture. 

This reflection comes at a volatile turning point for the local industry; with the Canal+ acquisition of MultiChoice, the conversation has shifted from the influence of a single platform to the potential birth of a transnational media monopoly. These developments raise critical questions about whether the increasing dominance of global giants like Netflix and Canal+ strengthens South African storytelling, or whether we have merely introduced a more aggressive form of digital neocolonialism.

The event, held from 27 to 28 January 2026, was hosted by the UWC Chair in Media Inclusion and Diversity, and served as a flagship initiative of the joint chair held by Associate Prof Sisanda Nkoala, from the Linguistics Department, and Prof Leo van Audenhove, who is a professor at Vrije Universiteit Brussels (VUB), and an extraordinary professor at UWC. This partnership represents a deepening of research ties between South Africa and Belgium, specifically designed to address media inclusion in the Global South, and took place on the sidelines of a visit by a high-level delegation from VUB. Attendees at the hybrid symposium included researchers from local and international universities as well as practitioners in the audiovisual sector.

“This is a look at ten years of us: our stories, our policies, and our evolving identity in a digital world,” said Prof Nkoala in her opening remarks. “We are asking the tough questions: Who is seen, who is heard, and who is being 'coded out' of our contemporary cultural archive?”

Before Netflix's direct entry, South African audiences had some exposure to global content through traditional broadcasters and limited video-on-demand services such as Showmax, which was introduced in 2015.

However, Netflix's subscription-based, on-demand model, coupled with its ever-expanding library of original programming, introduced a new paradigm of consumption and content creation.

Over the past decade (2016-2026), the streaming service’s presence in South Africa has evolved considerably. Initially, its offerings were predominantly international, but a conscious strategy to invest in local content production began to take shape, leading to the commissioning of South African original series and films such as Queen Sono, Blood & Water, and How to Ruin Christmas. This shift has sparked crucial conversations about representation, cultural authenticity, and the global reach of South African storytelling. Simultaneously, Netflix's impact extends beyond content creation to influence audience habits, local industry dynamics, regulatory frameworks, and even the broader cultural discourse surrounding digital media.

Back row from left to right: Dr Mvuzo Ponono, Mokgaetji Molopa, Dr Lefa Afrika, Vuyolwethu Seti, Nkosilesisa Ncube, Prof Oluyinka Osununle. Front row from left to right. Prof Sisanda Nkoala, Thandeka Bukula, Axelle Asmar. Image: Supplied

While Netflix set the stage for the streaming era, the symposium highlighted that the landscape is currently undergoing its most radical shift yet. Prof Leo van Audenhove noted that the impetus for this research was the need to understand how these global patterns manifest specifically in the South African context compared to European markets.

“The idea of working around Netflix actually came to fruition because at our university [VUB], we have been following closely what is happening in streaming, who the different players are and what it means for European production and culture,” explained Prof Van Audenhove. “We then thought, but we don't know that much about what's happening, actually, in South Africa. And there are very interesting changes going on with Canal+ moving into the market. What does it mean for production? What does it mean for the representation of people in South Africa? That's why we wanted to have this conversation.”

This “move into the market” refers to the $3.2 billion Canal+ acquisition of MultiChoice, a deal that has sent ripples through the African media industry. As the French media titan merges with the home of DStv and Showmax, new questions are emerging that go beyond Netflix’s influence, particularly regarding cultural sovereignty and whether a French-owned conglomerate will prioritise the same local nuances that South African audiences expect.

Furthermore, the creation of a Pan-African behemoth, given Canal+’s existing dominance in Francophone Africa, has led researchers to ask if this centralisation of power will limit or expand the diversity of voices on screen. This shift forces a critical debate over competition versus inclusion. As global giants battle for audience attention, symposium attendees questioned whether this intensifying competition drives better local content or simply prices out the smaller, independent South African producers who are vital to a diverse media ecosystem.

However, as the symposium concluded, the focus remains on the “hard” infrastructure of media. Despite the glitz of original series, symposium presenters, including VUB researcher Axelle Asmar, who delivered the keynote address, noted the digital divide remains a powerful gatekeeper. The reality is that for a significant portion of South Africans, the internet is not a ubiquitous utility but a rationed resource. High data costs and limited broadband infrastructure in rural areas ensure that the streaming revolution is not yet a revolution for all, reinforcing existing socio-economic inequalities in the digital sphere.

“We are not just looking at content; we are looking at the 'hard' infrastructure of access,” said Prof Nkoala. “We must grapple with the fact that limited broadband penetration and high data costs continue to constrain uptake. Our role is to ask who is being seen, who is being heard, and who is being 'coded out' by the algorithm.”

The symposium is the first step in a sustained research effort. The project aims to elevate South African perspectives to the global stage, with a dedicated panel already accepted for the International Communication Association (ICA) conference in Cape Town this June. Further, the UWC MID Chair is actively cultivating a new pipeline of interdisciplinary talent, supervising students who are already dismantling these complex digital structures. Among them is Carin Hector, a second-year Master’s student in the Linguistics Department, whose participation in the symposium through a presentation titled, “The South African algorithm: Race and Gender”, exemplifies the Chair's goal of empowering young researchers to lead the conversation on how language, identity and algorithms intersect.