Staff reporter
Bloemfontein — In our previous report, we declared MACUFE a shadow of its former self. The latest attendance figures suggest the festival may be in even deeper trouble.
On Friday, 11 September, the Divas Music Festival at Lemo Mall recorded 346 valid entries from 1,207 tickets at 19:54 — just 28.67%.
By 22:23, entries had increased to 581 out of 1,210, or 48.02% — still below half.

Saturday’s Main Jazz Festival at Loch Logan Waterfront was no better.
At 12:57, only 107 of 3,356 tickets had been scanned — a mere 3.19%.
By 17:15, the figure had risen to 895 of 3,444, or 25.99%.
At 20:29, the number stood at 1,495 of 3,470 — 43.08%, leaving 1,975 entries.

The figures become even more uncomfortable amid reports that many tickets were handed out for free in an effort to boost attendance.
And today, Sunday, the Gospel Festival takes centre stage. The available figures show 547 tickets issued, generating R45,700 at the time of the recorded figures if sold out,

All this comes against the backdrop of a festival that has reportedly received R30 million in public funding — raising serious questions about the return on that expenditure.
MACUFE once brought thousands of people to Bloemfontein, filled accommodation establishments and gave local businesses a much-needed economic boost.
Under the PEO SHEER SQUARED era — People Productions, owned by Sthembhele Khala; Sheer Entertainment, owned by Joe Chakela, the organiser of Tribute to Woman; and C Squared, directed by Ben Moseme — MACUFE reportedly generated R9 million to R11 million in revenue.
Today, the numbers paint a dramatically different picture.
Not even R1 million appears to have been recovered, while the wider economic impact on the city remains difficult to see.
And the irony is difficult to ignore.
Khala and Chakela are no longer involved in MACUFE, while Moseme remains one of the province’s prominent events entrepreneurs and has been involved in major productions, including the Essence Festival, while recently launching the CUFA Festival, which takes place next month.
Meanwhile, CUFA and Lemo Fest have increasingly cemented their presence around what was traditionally MACUFE weekend.
So perhaps the uncomfortable question is no longer whether MACUFE can be revived in its current form.
Perhaps it is whether MACUFE should be transformed into a genuine development programme — one that identifies, develops and unleashes talent across all five districts of the Free State through a Home Brew-style programme.
Because politicians can change the dates, venues and posters.
They cannot change the numbers.
MACUFE may still be making music.
But its numbers are playing a funeral song.
Macufe is mone making machine for the chosen few.
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