Consultative Conference Declaration
“An Art Bank will be established to curate and display art works in public buildings. These works will be made available for sale and refreshed annually.”

Background to the project and its objectives
The purpose of the Art Bank of South Africa will be to identify and purchase contemporary visual art works from emerging and established South African artists. Such art works will be leased to targeted organisations, particularly South African government bodies, for display within their premises. Such targeted organisations include national departments and institutions, parastatals, as well as other public-sector bodies and private-sector listed and unlisted companies. There will be specific emphasis on the Art Bank’s involvement in leasing art to new government buildings. This involvement should be from the conceptualisation stage of such buildings. Typical areas for display include corporate and administration offices, reception areas, hotels, certain retail outlets, hospitals, clinics and call centres. This national model will further oversee the formalisation and establishment of national committees to regulate the art industry in terms of copyright and ownership laws.
The objectives of the Art Bank of South Africa are three-fold:
1. To be a national rental agency for contemporary South African art (artworks will be leased out for a minimum period of two years) that will:
o Promote, support and supplement the income of contemporary South African artists by creating a market for their work and moving them from a second economy to a first economy. By doing so social cohesion will be stimulated. This will also provide the opportunity for South African artists to receive exposure locally as well as internationally.
o Be a professional financially self-supporting entity, investing in South African contemporary art, with the added benefit of building up a collection of contemporary art for the South African government.
o Meet the art needs of government institutions and departments, as well as private clients, through the medium of South African contemporary art. Clients will be able to have a collection of original art in their offices, at a fraction of the purchasing cost, and will have the added benefit of being able to renew/refresh the art collection every two years.
2. To procure and curate art works in all public buildings, including government departments, government institutions and South African embassies around the world, on a bi-annual basis, to ensure that good-quality contemporary art works are displayed.
3. To allow for the exposure of artists in marketing their works, as this will further contribute to audience development and consumption of South African art.
A curatorial committee will be appointed to advise on curating the artwork leased by clients.
Employment opportunities created/to be created
Short-term employment will be generated for artists in the creation of art works to be purchased by the Art Bank.
It is estimated that the acquisition of 1 700 artworks at R10 000 and leveraging of a minimum of 2:3 will create income for practitioners through exposure to consumers.
Provinces, Regional/Local Municipalities
The Art Bank will be a national institution that will affect artists across all provinces. An acquisition committee, consisting of art experts, will be appointed to source and purchase art from all provinces. The DAC is working with the City of Johannesburg concerning the (now closed-down) Joburg Art Bank.

Major cooperative governance partners and stakeholder groups
o National Arts Council of South Africa (implementation and financial reporting)
o Business and Arts South Africa (advocacy partner for private sector engagement)
o Visual Arts Network of South Africa (consultation)
o South African National Visual Arts Association (consultation)
o Heritage institutions (consultation)
o Department of Public Works (implementation in government buildings)
o DIRCO (implementation in embassies and foreign offices)
o Johannesburg City Council (consultation on Joburg Art Bank)
o Private art galleries and agents/dealers (sourcing of works)
o Consultancies and artist organisations
o Artists
o Curators
o Tertiary institutions
Contact details
Ms L Ndebele-Koka
Tel: 012-441-3015
email: lindind@dac.gov.za
Mr A Oberholzer
Tel: 012-441-3611
email: andrieso@dac.gov.za

Artists in Schools
Introduction and Context
"The Ministry will actively promote the Constitutional right of every learner in the General Education and Training Phase to access equitable, appropriate life-long education and training in the arts, culture and heritage to develop individual talents and skills through the transformation of arts education within the formal school system and the development and extension of community based arts education structures. The rich and diverse expression of South African arts, culture and heritage shall thereby be promoted and developed." - White Paper on Arts, Culture and Heritage (1996)
The social, economic, cultural and educational context of the 21st century clearly demands new ways of thinking about the arts, culture and creativity. This thinking, whether in formal education or informal learning must assist all South Africans, particularly young people, to become active and reflective participants in society and in their own learning. It is very clear that fostering creativity is a major priority in many areas of modern society. Creative thinking, innovation and excellence are seen as essential components of social and economic growth. New ideas and solutions are the keys to survival in a rapidly changing world. Arts and cultural activities offer distinct and stimulating ways of nourishing essential characteristics. This contributes to unleashing the creative capacities of our young people to constantly reinvent themselves to innovate and compete in the ever-changing global social, economic and political environment. In a country where arts education has been pushed to the periphery - with very little investment in human resources in arts and culture learning areas - arts practitioners are best positioned to transfer their artistic skills to both educators and learners.
Rationale
"The development of interventions throughout the education system to ensure measures to provide basic resources in schools; support and develop the skills of educators; ensure access for learners to all that the sector has to offer; identify and develop talent; influence choice of career path; develop appreciation and therefore audiences.″ – Mzansi Golden Economy – Declaration on Basic Education (Arts and Culture), April 2011
This groundbreaking initiative is a direct response to the lack of quality arts and culture educators and comprehensive education in the majority of public schools in the country. While many self-employed arts practitioners have committed themselves to sharing their skills and knowledge in their communities, the potential role of Artists in Schools (AiS) is often not effectively realised. This is due to skills gaps on the part of artists and educators and a lack of awareness of their potential role and value on the part of schools. The Mzansi Golden Economy (MGE) Summit, a consultative conference that was hosted by Minister of Arts and Culture, Mr Paul Mashatile (MP), in April 2011, highlighted and emphasised the importance of AiS in improving the quality of arts and culture education and training in schools. The Summit went further to reiterate the importance of such initiatives in unlocking the artistic potential of young people and in developing future audiences for cultural manifestations. The AiS initiative is predicated on the idea that arts practitioners have the potential to serve as a valuable vehicle in the implementation of the arts and culture subject in public schools, as well as contributing to the professional development of educators.
Purpose
″Consistent with the recommendations of the National Qualifications Framework, the Ministry (DAC) will seek to ensure that the expertise and skills of arts and culture practitioners, developed in and through informal processes, are appropriately acknowledged and accredited.″ - White Paper on Arts, Culture and Heritage (1996)
The purpose of the AiS programme is to develop and improve arts practitioners’ pedagogical capabilities and the skills they need to collaborate with arts and culture learning area educators (in schools and other learning centres) and to communicate more directly and interact effectively with the learners. Very importantly, this project further seeks to improve the quality of the delivery of arts, culture and heritage education and training in public schools. The programme also seeks to create sustainable job opportunities for arts practitioners in the formal educational sector.
Objectives
″Arts, culture and heritage education must entail an integrated developmental approach leading to innovative, creative and critical thinking. The whole learning experience creates, within a safe learning environment, the means for shaping, challenging, affirming and exploring personal and social relationships and community identity. Experiencing the creative expression of different communities of South Africa provides insights into the aspirations and values of our nation. This experience develops tolerance and provides a foundation for national reconciliation, as well as building a sense of pride in our diverse cultural heritage.″ - White Paper on Arts, Culture and Heritage (1996)
The objectives of the AiS project are to:
o Unleash the creative capacities of young people to thrive and compete in the knowledge economy of the 21st century;
o Capacitate young people to become not only consumers of cultural products, but also active participants and producers in the overall value chain of the creative and cultural industry;
o Improve the quality of basic education through rich arts, culture and heritage programmes;
o Foster social cohesion and national identity among learners;
o Forge a closer partnership and working relations between communities and schools;
o Create sustainable job opportunities for arts practitioners in the formal educational sector, thereby contributing to the economic development of the country;
o Develop sustainable audiences and markets for the arts, culture and heritage programmes and products in the communities;
o Acknowledge and celebrate cultural diversities among the learners, thereby removing xenophobic and racist tendencies that tend to disrupt social cohesion in schools and communities.
 
Structure
"GOAL 1: Ensure that arts education is accessible as a fundamental and sustainable component of a high-quality renewal of education″ - Seoul Agenda 2010 – UNESCO
o The AiS training programme (workshops) for arts practitioners consists of interrelated modules or topics focusing on personal and professional skills, project planning and implementation, arts and culture education theory and methodologies, interpretation, and implementation of the Curriculum and Assessment Policy Statement (CAPS), as an amendment of the NCS 2005 that came into being in 2012.
o Creation of sustainable job opportunities for community arts practitioners who are unemployed but have been volunteering their skills with various schools in their immediate communities. For the first time in South Africa’s history, participating arts practitioners are being remunerated for the services rendered in the participating schools.
It is envisaged that the work of the AiS project throughout the academic year, in collaboration with the educators and learners, should culminate in a regional or provincial arts exhibition and concert. This event, resources permitting, should be taken through all the regions of the respective provinces. Budget allowing, the national AiS exhibition will take place at a central place and venue as identified by the key role players. The purpose of this endeavour will be to expose disadvantaged communities to the arts, particularly exhibitions and semi-professional musical, dance and drama performances. This will result in the development of audiences for the cultural products and programme in those provinces and at national level.

Implementation
"GOAL 2: Assure that arts education activities and programmes are of a high quality in conception and delivery″ - Seoul Agenda 2010 – UNESCO
The implementation of the AiS project is carried out through the various specialist arts education organisations, including the higher education and training institutions. The Departments of Arts and Culture, and Basic Education (DBE) play a pivotal and advisory as well as monitoring and evaluation role during all the stages of the project’s life cycle.
The placement of arts practitioners in schools is generally preceded by intensive capacity-building workshops on the methodology and the relevant policy imperatives such as CAPS. During the workshops, relevant officials from the provincial and district offices of DBE, mainly the arts and culture subject advisors, are called in to make presentations on the challenges of the implementation of the curriculum, as well as all the relevant policy prescripts in the classroom.
Exit opportunities to be created
o Absorption as full-time staff by school governing bodies (SGBs) in the participating schools;
o Starting own Arts Education and Artist in Schools initiatives;
o Furthering careers in Arts Education through institutions of higher learning.
Training to be provided
o Project Management
o Presentation Skills
o Basic Teaching Methodology (CAPS)
o Personal/Time Management

Provinces, Regional/Local Municipalities
The AiS Programme is a national programme.
Beneficiaries
o Primary: arts practitioners including women, youth and people with disabilities
o Secondary: schools, learners, educators and community
Duration: 2013-2016
Project Manager’s contacts details:
email: mphom@dac.gov.za
Tel: 012 441 3656
Cell: 082 881 1899

Cultural Events
Introduction
The Department of Arts and Culture (DAC) has embarked on a strategy to reposition the Arts, Culture and Heritage (ACH) Sector as a key player in government’s programme of action for social cohesion, creation of sustainable jobs, and ensuring social and economic development.
To this end, the DAC convened a consultative conference on 14 and 15 April 2011 for ACH Sector stakeholders to deliberate on various proposals to optimize the contribution of the sector to these priorities and specifically to the New Growth Path.

Before the Conference, there was a review of prior work, accompanied by consultations with key role players. The review and consultations were used to generate a high-level problem statement, develop a strategy and make specific proposals, including new large-scale interventions focusing on the creative and cultural industries.
Flagship/Signature Events

What Are They?

Flagship or Signature Events are former Arts Festivals which, for the past 11-12 years, were funded by the DAC on an ad-hoc basis. These Festivals gave artists a platform to showcase their talent/skills across various arts genres and disciplines and thus earn a living. With the introduction of the Mzansi Golden Economy (MGE) initiative, which has a clear mandate to reposition arts and culture as contributors to the economy, these Festivals have been streamlined so that they can achieve the objective of becoming avenues for job creation and social cohesion. This new approach resulted in MinMEC identifying two flagship/signature events in each of the nine provinces for co-financing and partnership with the DAC. These Events will be upscaled to attract more and diverse audiences, thus resulting in multiple benefits for both artists and the hosting city. The Events vary from province to province and target a diverse audience, both nationally and internationally. With a commitment from national, provincial and local government and the private sector, these Events have the potential to grow and create sustainable jobs for local and national artists and to contribute to related sectors like the hospitality, tourisms, food and beverage, and technical services sectors. A common thread of the Events is that they promote both professional and grassroots artists.
The following Events have been identified and approved:
• Indoni Cultural Event
• Dance Music Event
• SAMA Awards
• National Arts Festival
• Mbokodo Awards
• Standard Bank Joy of Jazz
• Gauteng Carnival 'pale ya ronaT'
• KZN Drakensberg Okhahlamba World Heritage Site & Midlands Bergfest
• Taung Cultural Arts Festival
• Mpumalanga Comes Alive Sixties Festival
• Macufe Arts Festival
• Buyele’ Khaya Pan African Music Festival
• Cape Town International Jazz Festival
• Mapungubwe Arts Festival
• Cape Town Carnival
• Cultural Mine Dance Festival
• Marula Festival
• Kalahari Desert Festival
• National Book Week (NBW)
Objectives of the Events
• Attract the broadest possible audience and new audience;
• Stimulate and promote the creative economy of the location;
• Showcase distinctive South African culture;
• Promote entrepreneurial activity in each location;
• Increase social cohesion of the locality;
• Increase capacity and knowledge of event planning, event management and even tourism;
• Strengthen and grow the ACH Sector;
• Create income for local artists and local entrepreneurs and in other sectors such as technical events services.
Selection criteria
The Events were identified and approved by MinMEC. They were selected based on upscaling of existing events and the principle of geographic spread (all provinces). In addition, these Events were selected based on provincial submissions and include those that do not currently enjoy consistently high patronage.
Evaluation criteria
Provinces submit a business plan for each of their Events. This must be accompanied by a three-year proposal with a detailed budget and detailed project plan. The proposals are analysed to check if they meet the above-mentioned objectives.
Event and Festival Grant Programme
What Is It?
This is a tool designed to strengthen and grow the ACH Sector. Firstly, through assisting local organisations in hosting arts and cultural events in communities and secondly, by providing more opportunities for arts organisations and artists to perform and showcase their work. It will enable the Sector to stabilise and consolidate, and provide access to work and experience, capacity building and linkages to tourism. In the long term, it is meant to reduce dependency on financial assistance from government and insecurity in the Sector, and allow for improved and professional planning and accountability by the Sector.
 
Objectives of the Event and Festival Grant Programme
1. Create a coordinated programme for events and touring exhibitions that will allow the DAC to move away from ad-hoc funding to strategic funding based on clear programmes and a strategy for events/festivals and exhibitions.
2. Upsize and create an extravaganza at existing events and festivals. This will allow an increased diversity of cultural offerings, enhanced quality, and increase the number of offerings or extend the duration of events can be longer, ensuring that parts of the events can tour from province to province with obvious economic and social benefit for the location.
3. Increase the audience and exposure that each production receives which will in turn increase the number of jobs/livelihoods/income and work these events/exhibitions create; to enhance the social cohesion of the country and in particular of the location in question and finally to increase the upskilling opportunities of our arts and culture communities and the tourism sector.

What is the purpose of the Call for Proposals?
To create an enabling environment that supports diverse arts events and festivals that are geographically spread and nationally coordinated throughout a calendar year.
Who may apply?
The Call will be open to all South African arts, culture and heritage organisations, individuals, events managers, festival organisers, arts directors, exhibition directors, amateur and professional organisations that have a legal status (must be registered as a legal entity).

When is the Call made?
The Call will be made annually, in October, and is subject to availability of funds.
Project Leader: Ms Susan Selepe: SusanS@dac.gov.za or 012-441-3471

The Consultative Conference Declaration:

A Cultural Observatory will be established, in collaboration with existing initiatives with the purpose of developing key indicators, working to collect cultural statistics and analysing trends to allow global comparability and to inform future policy and resource allocation decisions. This observatory will also serve as a library for all reports pertaining to the sector. 

Current Situation

Existing research in the sector is conducted on an ad-hoc basis and commissioned from different tiers of government, statutory institutions (NFVF, NAC and NHC), other government departments and agencies at all tiers (Stats SA, DTI, Tourism, economic development) . As a result the available research is not comparable and there is insufficient, inadequate and unscientific data for many areas in the Arts, Culture and Heritage sector (for policy, evaluation, assessment and impact). There is no intervention to remedy this problem at the moment.

The Cultural Observatory

The Cultural Observatory will develop and support the collection and analysis of evidence, influence policy, share insight and build intellectual capacity across the arts, culture and heritage sector and will do this by working across the breadth of cultural domains, including the arts, heritage, tourism, museums, libraries and archives and creative industries. The cultural observatory will develop a strategic vision and organising principle for the collection of statistics and development of indicators in the sector and creative economy, based on UNESCO’s framework for statistics, and develop indicators appropriate to the South African context and based on need and audience. All future research in the sector will apply this strategic vision and organising principle to ensure the comparability of results.

The Aim of the Cultural Observatory

To provide support to the ACH sector (government and civil society) and creative economy by becoming a holistic repository, collector and developer of  knowledge, information and evidence concerning the content, structure and dynamics of the ACH sector and creative economy in South Africa with a view to contributing to employment, poverty alleviation and sustainable development. Specific objectives and planned outcomes include:

• To Champion Evidence:  To be South Africa’s primary source of cultural statistics and key indicators to assess the value of the sector and track changes over time and make comparisons between different evidence bases and to model evidence in such a way as to yield new insights .
• To Influence Policy: To analyse trends to inform future policy and resource allocation decisions; measure the performance of South Africa’s arts, culture and heritage sector to allow global comparability; interface with the other spheres of government on cultural statistics policy matters; support the DAC in performance measure indicators of the cultural industries and investigate the impact of existing and potential cultural policies on the development and growth of the country. 
• To Share Insight: to provide accessible interactive database 'knowledge and information' for users and target groups; to generate trust and social capital so that there is confidence in cultural indicators and acceptance of public statistics; to become a research hub, clearing house for new and innovative research projects for cultural industries in South Africa; to provide critical cultural information on sustaining cultural and social cohesion trends in South Africa; to collaborate with key observatories in Africa and the African diaspora in the Caribbean as well as elsewhere and to stimulate debates and improve knowledge exchange in seminars and conferences.
• To Build Capacity: To provide technical assistance for strengthening the capacity of ACH practitioners, through networking; to educate through the online observatory utilising the best practice in user-friendly information and educative links for further reading; to provide training and development to all local authorities on the gathering of cultural statistics and information; to provide support for multidisciplinary research in the creative economy and other related issues.

The Cultural Observatory will not duplicate research being conducted by creative industry bodies such as the Print Industries Cluster Council, the NFVF and other agencies. The Cultural Observatory will focus on the five year research agenda adopted by the Cultural Policy Advisory Committee and all ad-hoc requests will be submitted to the committee for prior approval to stay within the mandate provided. The Observatory will not conduct commissioned research for clientele other than government, and will not compete with research agencies and institutions in the private and public domain. The Observatory will focus on long term data collection and collection and not specific research to inform specific projects or programmes.

Cultural Precinct
Consultative Conference Declaration
"Based on experience of establishing cultural precincts to date, nationally supported and locally implemented cultural precincts will be established. These precincts will be linked to places and sites throughout the country."
Background to the project
Cultural precincts are aimed at providing a conducive and enabling environment for the production and consumption of arts and culture. This will create a demand for commercial enterprises (cafés, restaurants, entertainment) and thereby attract visitors and tourist to the neighbourhood. Such precincts enhance social cohesion through the collective consumption of arts, culture and heritage in public spaces. They also contribute to infrastructure development, urban renewal and viable communities. By their very nature, cultural precincts are multifaceted and have the potential to contribute to a range of national imperatives such as job creation, economic development and crime reduction.
Objective
The objective of a cultural precinct is to provide local and surrounding communities, the broader city community and tourists with places to meet and be together – enjoying a diverse range of culture and cultural offerings, learning, exploring and interacting with cultural and creative activities and people, eating and drinking, shopping and socialising – in an environment that is green (leafy streets and parks), in streets that are pedestrian friendly, in trendy cafés, restaurants, bars, speciality shops, galleries, museums, theatres and music venues. To attract the widest range of patrons and audience it is important that a precinct offer both free activities (open-air events, etc.), which attract people to the area, and charged activities. It provides the meeting point for key urban strategies, from local economic development, iconographic, community, environmental, and educational to cultural and artistic.
 
Exit employment opportunities created/to be created

It is estimated that a small number of full-time equivalent job opportunities will be created–
o in technical fields like staging, lighting, sound, etc. from performances during touring events;
o from precinct cleanliness, safety and security;
o from marketing, promotion, tour guiding, facilities management and managed work spaces;
o through infrastructure development;
o by fostering of local entrepreneurship.
Provinces, Regional/Local Municipalities
o Bloemfontein – Free State: Waaihoek Historical Precinct located in the Bloemfontein city centre, extending into the Batho Township.
o Cape Town - Western Cape: The Artscape Cultural Precinct is aligned with the Inner City Renewal Project approved by the Western Cape Cabinet and driven by the Department of Transport and Public Works. It is also aligned with certain new developments on the Cape Town Foreshore linking to the CCIC. Gugulethu Heritage and Cultural Precinct will also be linked with the Artscape Precinct.
o Durban – KZN: Arts and Culture Precinct incorporating historically important landmarks, the Playhouse Company and the KZN Philharmonic Orchestra.
o Johannesburg – Gauteng: Newtown Cultural Precinct and Vilakazi Street Cultural Precinct. Vilakazi Street has the unique distinction of hosting the historic homes of two Nobel laureates (Nelson Mandela and Desmond Tutu).
o Nelspruit – Mpumalanga: Gateway to the Kruger National Park.
Training offered and beneficiaries
Cultural precincts have the potential for training in a range of skills, including artistic creativity and construction work where infrastructure is created. The Newtown Cultural Precinct, for example, is a hub of artistic creativity. It hosts a number of organisations such as the Market Theatre, Museum Africa, Sci Bono, Dance Factory and Artist Proof Studio. Some of these institutions train dancers, designers, musicians, etc. The youth are the beneficiaries of most of these programmes. The DAC will encourage and promote conglomerations of institutions and cultural activities in other provinces where precincts are proposed.
Timelines or duration of the project
Creation of viable and sustainable cultural precincts is a medium to long-term goal. To maximise impact, the DAC will fund precincts over the MTEF cycles.
Contact details

The project managers are:
Mbhazima Makhubele, tel: 012-441-3470,
email: mbhazimam@dac.gov.za and
Mahunele Thotse, tel: 012-441-3470,
email: mahunelet@dac.gov.za

Monuments, museums, plaques, outdoor art, heritage trails and other symbolic representations create visible reminders of, and commemorate, the many aspects of South Africa’s past.
Government has initiated several national legacy projects to establish commemorative symbols of South Africa’s history and to celebrate its heritage.

The legacy projects include the following:

• Union Buildings Centenary
• Sarah Bartmann Centre of Remembrance
• Mandela House
• Bisho
• Indonesia
• Ncome
• Bhambatha
• Vlakplaats
• Isandlwana

The Public Art Development Program is a work stream of Mzansi Golden Economy (MGE). The Department of Arts and Culture (DAC) Public Art Development Programme (PADP) will be implemented in partnership with other levels of government and government agencies and civil society. The DAC will solicit proposals on Public Art Development Programme  (PADP) for projects that need to take place each year. The PADP is implemented to strengthen and grow the arts, culture and heritage sector, with particular emphasis on giving Youth, Women, Children and Persons with Disabilities (PwD) to participate and benefit from the PADP.

The DAC will use PADP to assist local organizations that are operating in the Public Art environment and to provide more opportunities for Creative  arts practitioners, organisations and government to showcase creativity in public space, either on a permanent or temporary basis. PADP  will enable the Creative  arts sector to stabilise and consolidate, providing access to work and experience, build capacity /transfer skills  and create linkages to support infrastructure (e.g. urban renewal project & parks), Expanded Public Works Programme (EPWP),  enhance quality of life, support heritage and  tourism. It will also promote partnerships the long term (through co-financing models), reduce dependency on government’s financial assistance, create sustainability of the Creative Arts sector, including culture and heritage sector. Through its implementation, the PADP will encourage professional planning and accountability by the sector. It will promote contribution of the sectors to the Gross Domestic Product (GDP) and stimulate local Economic activities.

Objectives of the Public Art Development Programme

The objectives of PADP Programme are numerous, key to them are the following:

• To create a nationally driven approach to PADP Programming which is focused on building community ownership and pride in public and shared spaces through public art projects. It will be structured to engage these communities at all stages of the development process, with the express objectives of:

• Creating decent work for artists, designers, researchers, storytellers, crafters, performance artists and a range of other workers involved in the realisation and presentation of public artworks;
• Attracting investment and economic activity to particular locations, including the ‘far-flung’ areas of this country;
• Achieving a range of impacts in adjacent areas:
  • Safe and decent Human Settlements/Housing,
  • Skills transfer & Education,
  • Community Well-being & Health and
  • Community-driven Public works
• Catalysing work creation and economic activity in a range of associated sectors: tourism, hospitality, property development and so on

• To upscale existing Public Art Projects and create public interest in Public art’s role in their communities – in creating real jobs, stimulating local economy, enhancing quality of life, raising awareness of local history/heritage and allowing increased diversity of cultural offerings and or over longer duration for the event with obvious economic and social benefit for the location and on ensuring that positive spin-offs/impacts.

Exit employment opportunities to be created:
The participants in the PAD Programme will gain numerous skills and employment opportunities, which include self-employment:

• Life-skills : Interpersonal, negotiation, conflict-management and communication skills
• Visual Arts, Performance Art, Storytelling and Design skills
• Research skills
• Entrepreneurial and Business Skills
• Presentation skills
• Skills in applying/bidding for (Pubic Art) Commissions
• Problem-solving and creative solutions skills
• Community Participation, Community-liaison and Appraisal skills

Province, Region/ Local Municipality: PAD Programme is a National programme

Training to be offered and beneficiaries:
Creative Arts - Visual Arts, Design,
Community Liaison,
Business and
Research skills.

PADP Programme Beneficiaries:  

• Youth
• Women
• Persons with Disabilities
• The Elderly (especially on storytelling issues)

Director – Moleleki Ledimo

            e-mail: moleleki.ledimo@dac.gov.za

            Tel: +27 12 441 3071/90

Sourcing Enterprise
Consultative Conference Declaration
"A virtual enterprise will be established to give access to markets and support product development, to increase demand and consumption in the sector. In addition, an enterprise will be established to supply local goods and services to government conferences and events."
Strategic Objective
To provide access to the full range of products, services and experiences offered by the Arts, Culture and Heritage Sector in order to grow the demand and supply of goods. This will stimulate job creation in the Sector.

Project outputs
The Sourcing Enterprise will be an open access platform. Any individual with a creative product, service or experience will be able to register. Clients, particularly government departments, can purchase and access information online. The open access platform will be linked with existing initiatives that provide the same service.

o Virtual Online Platform: The virtual platform will profile all practicing and credible South African creative industries and heritage service providers who have a product, service, or experience to offer. Each fraction will be provided with a profile page that will include all relevant information. The portal will be accessible to public and private end-users (local and international) who wish to obtain information on listed South African creative industries practitioners who have a product, service or experience to offer.

o Physical Enterprise: The online platform will manifest physically in a series of ‘outlet/showroom’ spaces – one in the capital of each province. It will link with existing initiatives that provide the same service. The physical enterprise will aim to source commodities, activities and experiences, primarily for the public sector. It will hold limited stock of popular items and will serve as a facilitator between the end-user and the practitioner.

Implications for job creation
The Sourcing Enterprise will result in growth in demand, and therefore supply. The consequence of this will be employment opportunities and social and economic benefits. Using the Mzansi Golden Economy Consultative Conference to extrapolate: a government event for 500 delegates has the potential to generate 384 workdays and the commissioning of 108 practitioners. Based on a modest target of four conferences per national department, the potential direct impact is R2 268 million in revenue and 1 200 full-time equivalent employment opportunities.
Contact details
Mr J Mathe
josephm@dac.gov.za
Ms L Ndebele-Koka
lindind@dac.gov.za

Touring Ventures is a work stream of Mzansi Golden Economy (MGE), designed to strengthen and grow the Arts, Culture and Heritage (ACH) Sector. This venture has been established to ensure that existing exhibitions, fairs, shows and performances are supported to tour domestically and internationally. Tours to remote areas of the country to provide access for marginalised audiences and to sustain jobs will also be included.
It will enable the Sector to stabilise and consolidate, providing access to work and experience, capacity building and linkages to tourism. In the long term, it is meant to reduce dependency on financial assistance from government and insecurity in the ACH Sector and to allow for improved professional planning and accountability by the Sector.
Objectives of the Touring Ventures Programme
1. To support wider, cost-effective opportunities for the nation’s cultural outputs to be viewed, observed and enjoyed around the country and beyond.
2. To increase the audience and exposure that each production receives, which will in turn increase the number of jobs, livelihoods, income and work that these performances, events and exhibitions create; to increase the social cohesion of the country and in particular of the location in question; and finally to increase the upskilling opportunities in our arts and culture communities or sector.
3. To support national, provincial and local government, cultural institutions, cultural agencies, arts groupings and individual arts practitioners in a reciprocal and sustainable approach to touring.
Progress so far
In the financial year 2012/13 R5 million in support was granted to the following six performing arts cultural institutions: ArtsCape, The Market Theatre, Pacofs, The Playhouse Company, The South African State Theatre and Windybrow. This support was granted to extend the lifespan and exposure of previously programmed productions to the broader South African public. The following is the calendar and short descriptions of the theatre works that have been touring since March 2013 and that will continue until October 2013.
Synopsis of Funded Productions:
ArtsCape
Kunstreffers
'Kunstreffers' is an 80-minute show that features genres such as ballet, African indigenous music, opera, jazz and contemporary music. The objective of the programme is to promote the arts and community building in rural areas. The idea is for rural communities to experience performances that highlight the exceptional talent and diversity of our country. This is supplemented by productions for learners, a career expo for high school learners and a youth dialogue.
A week before show time the technical crew would already be busy transforming the venue, usually a conservative space such as a school hall, into a theatre. It is here were learners are invited to watch and learn about the operations of sound, lighting, props and sets.
Champs
Three young drama school graduates; Stanley, Melvin and Elliot, team up with Waldo, a director of children’s theatre, to entertain children in a local shopping mall. There they are harangued by the children and management alike. Taking stock of their situation becomes all-important, leading to bizarre situations getting out of control. Any actor who has ever worn any sort of animal costume for a performance will know the feeling of exploitation they endure for the sake of a pay cheque.

Special Thanks
Two South African friends are reunited at a wedding overseas. Luke is a gay economics professor at UCT, while Thabisa is a Zürich-based banking executive. They haven't seen each other in a while and quickly start catching up. Alas, this includes some heated discussions about Luke's refusal to get over an old break-up and Thabisa's decision to move overseas to live her own life. Complicating matters even more is the groom's brother Markus, a physiotherapist for 'Doctors without Borders' to whom both Luke and Thabisa are attracted. Can their friendship withstand a weekend of flirting, fighting, and way too much booze?
Brothers in Blood
A five-hander exploring the universal theme of prejudice, in the evergreen context of religious tension between Jewish, Muslim and Christian characters. It is set in Cape Town in the late 1990s against the backdrop of the activities of People Against Gangsterism and Drugs (PAGAD), which caused high tension within the city at the time. 'Brothers in Blood' was a product of the writers’ residency, written by Mike van Graan.

Kingdom of Earth
Tennessee Williams’s rarely seen masterpiece, 'Kingdom of Earth', is a savage, sexy and darkly comic play. Terminally ill Lot returns to the Mississippi Delta with his new bride, Myrtle, to reclaim his ancestral home from his brooding, feral half-brother, Chicken. As rain falls and the river threatens to flood the land, these three lost souls engage in a brutal power play for the possession of all they’ve ever known.

Running on Empty
Liesbet, a single woman, is running on a treadmill on an empty stomach; the hamster wheel of her thoughts. She struggles to maintain her balance, stumbling over her past. This is an English translation of 'Hol', originally an Afrikaans one-hander, featuring Nicola Hanekom as writer/performer. It was a product of the Artscape New Writing Programme 2012, after which it had extremely successful runs at the Klein Karoo Nasionale Kunstefees, the Grahamstown National Arts Festival, The Amsterdam Performing Arts Festival and the State Theatre. 'Hol' is a multi-award winning production; having scooped up the highest accolade at the Grahamstown National Arts Festival in South Africa, the Gold Ovation Award; and numerous awards at the prestigious Fleur de Cap national theatre awards.

The Market Theatre
Woza Albert
This celebrated and much-loved South African classic asks what would happen if Jesus Christ (Morena) came back to South Africa during the apartheid era. The first part of the play sets the scene, attacking the pass laws that prevented black South Africans from moving and working freely. In a few short minutes, it sketches the semi-slavery that was imposed on manual workers by bosses, who could fire them if they got too independent. However, there is always a rich vein of humour even in the worst adversity. The use of clowns’ noses to distinguish the elite Afrikaners - including the Prime Minister – from the apparently subservient blacks was one of the features that made this play famous. The short, impressionistic sketches begin to move from background scenes of generally downtrodden life to interviews with individuals about the impending visit of Morena – who inaugurates his Second Coming by flying to South Africa courtesy of SAA.
The second half of the play becomes considerably darker and more resonant. Now, Jesus is in the country and his life is replayed in the apartheid context. He is first welcomed, then imprisoned on Robben Island. This retelling of a familiar story in a new context becomes devastating by the end, shedding light on both the Bible and apartheid South Africa.
The Line
'The Line' is a powerful and chilling play about human nature and moments in time in South Africa. It was constructed from a series of interviews with South Africans involved in or affected by the xenophobic attacks that took place in May 2008. Research for the play indicated that the attacks were about far more than hatred against foreigners - they were an angry cry and a violent response to lack of service delivery, access to resources, inhumane living conditions and failed governance. Embedded in these actions is a warning to all South Africans that the authorities are unwilling to hear.
'The Line' explores the fragility of goodness and questions what caused the attacks, who was responsible, what makes good people do bad things and how people cross 'the line'. It raises issues about what it means to be South African; what it means to be a foreigner living in South Africa; what our responsibilities as global citizens are, and how we can protect and preserve our humanity and the humanity of others.

Pacofs
The Madonna of Excelsior
In 1971, 19 citizens of Excelsior in South Africa’s white-ruled Free State were charged with breaking apartheid’s Immorality Act, which forbade sex between blacks and whites. The play focuses on the story of one such fallen Madonna, Niki, and her family at the heart of the scandal. It explores the emotions and endless search of the coloured girl Popi, Niki’s daughter, for her real farther and thus her true identity. Her mother refuses to talk about the past and Popi then decides to search for her answers elsewhere. Will she discover her true identity, or be left in the dark forever by her mother?
Mafukuzela
In response to the call to celebrate South Africa’s heritage through honouring the people who contributed to the liberation struggle that led to freedom of the oppressed, Pacofs celebrates John Langalibalele Dube. Affectionately known as Mafukuzela, he was a leader, a priest, a journalist, a teacher, a scholar, an author and the first president of the African National Congress; a man who fought tirelessly for the education of black children and for freedom of all Africans.

'Mafukuzela' is a narrative concert that introduces audiences to the music of J L Dube through narrative song and dance, featuring the diva songstress Sibongile Khumalo, complemented by an orchestra, choir and dancers. The concert tells Mafukuzela’s story through movement and a fusion of gospel, indigenous music, choral, jazz and classical sounds. The concert promises an unforgettable and unique evening under the directorship of Jerry Pooe, with celebrated choreographers and musicians.

Footsteps
The story is about two people who are deeply in love but could not be together. When they parted, the girl gave the boy her African sandal as an expression of her love and a symbol of their commitment to the love that was never going to be.

The family, especially the sisters, disapprove of the relationship and use all means to ensure that the two never meet. The girl disappears and no one seems to know where she is. The boy starts on a journey searching for her. He goes everywhere but finds no trace of her. He goes to the inyangas, izangoma, faith healers and churches to no avail. On his journey, the boy comes across a wise old man who realizes that the boy is troubled when the boy opens up and tells him his story. The old man informs the boy that he must go to a place called “Maraklas” and that he will find the love of his love there. Without hesitation, the boy travels to an unknown place in the hope of fulfilling the dream of meeting his long-lost love.

On arrival at the place, foreign as it is to him, he goes through the valley and mountains to where he has been directed. The sound of a drum directs him to where the African sandals are. He finally meets the love of his life and a big celebration takes place. The story is told through tap dance, music, singing and narration.
The Playhouse Company
Race
'Race' is about three lawyers - two partners, one African-American, one white, and their young African-American law clerk - who are deciding whether to take the case of a wealthy white man accused of raping an African-American woman. The play, like the case, is not open and shut. Shame, guilt, class, sex, lies and, of course, race, are all provocatively stirred together in this fast-paced show. Theatregoers will probably dissect and discuss this show long after the curtain goes down