AI eroding children's creativity, says beloved actress
Artificial intelligence is steadily robbing children of their capacity to think creatively and solve problems on their own, warns well-known South African actress Cindy Swanepoel, who is calling on parents to bring their youngsters back to the magic of live theatre.
Swanepoel, recognised for her appearances in Koek and Binnelanders, is currently performing at the Klein Karoo National Arts Festival (KKNK) in the children's production Zonkie and the last tree house. The show requires her to bring puppets to life on stage — a craft she describes as both demanding and deeply rewarding.
"The show is basically a showcase of everything I can do. Every whistle I can blow and sound I can make. I have always been so interested in clowns and puppets. It takes so many skills to be able to handle it."
Speaking at the KKNK festival grounds, Swanepoel drew a clear distinction between screen work and puppetry, arguing that genuine artistry lies in making an inanimate object feel alive. For her, the ability to breathe life into a doll represents a far greater creative challenge than simply delivering lines before a camera.
The actress voiced strong concern about the growing influence of AI tools on young minds. She pointed out that children increasingly turn to platforms like ChatGPT to generate stories or complete schoolwork, bypassing the problem-solving and imaginative thinking that previous generations were compelled to develop. She urged families to seek out spaces where children can play, create, and use their imaginations freely.
A full-circle moment on stage
Performing for young audiences is familiar territory for Swanepoel, who spent roughly eight years working primarily in children's theatre. She regards her current KKNK appearance as a meaningful return to her roots — not only stepping back onto the stage, but reconnecting with the young viewers who hold a special place in her heart.
She noted that children are the most honest audience any performer can face. Unlike adults, who tend to remain polite regardless of their experience, young viewers make their feelings immediately apparent. Restless fidgeting signals boredom, while rapt silence signals total engagement. Swanepoel shared that during her recent performances, children sat completely captivated for the full 40-minute running time, with even adults in the venue watching in amazement.
"That's the biggest gift and why I do it. I have so much fun during the show, but it's great to see how the people enjoy it. If I can manage to make the audience feel, I've achieved what I wanted."
Reflecting on her own childhood, Swanepoel recalled attending theatre productions as a young girl. While the specific storylines have faded from memory over the years, the emotional impact of those experiences has endured. She believes that same lasting impression is what makes children's theatre so valuable — a gift that stays with a person long after the curtain falls.
"Just think what you can leave with a child. When they are in their thirties or forties one day, they can look back and remember how they felt. Not necessarily the story, but the feeling. And that's wonderful."
South Africa's creative industries depend on nurturing young talent, and the growing reliance on artificial intelligence tools in education threatens to weaken the pipeline of imaginative thinkers entering arts, media, and innovation sectors. Live theatre festivals like the KKNK provide vital economic support to small towns such as Oudtshoorn while offering children developmental experiences that screens cannot replicate. Whether schools and families heed the call to prioritise creative engagement may shape the cultural workforce for decades to come.
