Cultural ownership, creative credit, and public perception collide in new controversy
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| Simphiwe Dana (left) and Nomzamo Mbatha (right) are at the heart of a growing discussion on cultural ownership and the visibility of African creatives in popular media. Image via Instagram @simphiwedana |
Renowned South African musician and cultural activist Simphiwe Dana has publicly accused actress and producer Nomzamo Mbatha of appropriating her signature hairstyle without credit in the hit historical drama Shaka iLembe. Dana expressed frustration on social media, stating she is "fed up" with what she perceives as repeated disregard for her cultural influence in the industry.
Simphiwe Dana took to social media platform X to express her frustration, directly accusing Shaka iLembe and its executive producer, actress Nomzamo Mbatha, of appropriating her signature hairstyle without giving proper credit. In her words:
"I’m now fed up with brands appropriating my style... I’m talking to you Shaka Ilembe and Nomzamo Mbatha... It started here. Appreciate, don’t appropriate."
Dana emphasized that her style is not merely aesthetic but a cultural and creative expression that deserves acknowledgment, especially when replicated on widely viewed platforms.Simphiwe Dana calls out Nomzamo Mbatha over hairstyle dispute
— MDN NEWS (@MDNnewss) July 28, 2025
South African singer Simphiwe Dana has publicly accused actress Nomzamo Mbatha of copying her signature hairstyle without credit.
Dana, known for her Afrocentric aesthetic, claimed the hairstyle, featured in… pic.twitter.com/B8tU2sMVGH
Mbatha, who also serves as executive producer on Shaka iLembe, has not publicly responded to the claims. The show itself has received both praise and criticism winning awards and achieving high viewership while also drawing backlash from some descendants of King Shaka Zulu who argue the series misrepresents historical facts.
The situation has ignited broader conversations online about cultural appropriation, representation, and the often-blurred lines between artistic inspiration and uncredited borrowing.
Some members of the public and cultural commentators have come to Dana’s defense, stating that artists particularly Black women whose styles are often co-opted deserve proper recognition when their creative influence is adopted on high-profile platforms. Others argue that hairstyles in African storytelling may share common roots and that such overlaps don’t always imply appropriation.
This incident touches on deeper themes in the South African creative industry:
- Who owns cultural symbols and styles?
- What does respectful acknowledgment look like in creative work?
- How should public figures engage with criticism around cultural inspiration?
In a time when authenticity and representation are under greater scrutiny, Dana’s allegations raise valid questions about the fine line between celebration and exploitation of African identity especially in productions centered on African history and pride.
The Broader Cultural Landscape
This isn't the first time South African creatives have voiced concerns about credit and visibility. In recent years, conversations about intellectual and artistic ownership have intensified, particularly for women in the entertainment industry. Dana's voice adds to a growing movement demanding that mainstream media acknowledge the originators of cultural aesthetics that become commercially successful.
With platforms like Shaka iLembe gaining global attention, questions around cultural gatekeeping, storytelling ethics, and the responsibility of producers to honor original influences are becoming more urgent.
Whether or not Mbatha responds directly to the claims, the conversation sparked by Dana has once again highlighted the need for meaningful dialogue about credit, influence, and representation in African storytelling.
As audiences continue to engage with African-led productions, the industry faces a critical moment: Will it evolve to become more inclusive and respectful of originators, or will questions of cultural erasure continue to surface? The answers may lie in how future projects are shaped both behind and in front of the camera.
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