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A research report submitted to the University of the Witwatersrand Faculty of Humanities, School of Arts, in fulfilment of the requirements of a Masters degree in Arts and Culture Management Johannesburg 2015 / The Civil Society sector in South Africa has been experiencing a funding crisis for the past 20 years. The arts represent a small portion of Civil Society, and the visual arts a small part of the art. This research considers how these visual arts non-profit organisations (VANPOs) in this economic microsphere have been challenged to survive and sustain their missions in what is a competitive, fluctuating and complex environment. This study scrutinizes the concept of sustainability and the visual arts non-profit sector’s capacity for implementation of economically sustainable projects in the current economic and funding environment in South Africa. It outlines the complex and challenging nature of sustainability for VANPOs. The VANPOs, all small organisations, have limited human and cash resources to implement sustainability strategies while fulfilling their missions. Furthermore the funding environment focuses on short-term project grants and production-oriented efforts. This does not offer the organisations much opportunity towards long-term organisational development nor strategic resourcefulness. At the same time they struggle to remain compliant with government regulations and donor requirements. This research considers methods of assessing sustainability and the perspectives of professionals involved in the management of VANPOs. It examines the challenges they have faced in finding ways to implement sustainability and in the implementation of ‘sustainable’ projects. The brief case studies focus on how five VANPOs have responded to diminishing funding.

In the late 90’s the creative industries emerged as a new concept to aggregate industries whose products were primarily based on creative inputs and were subject to intellectual property. In the field of media studies, the creative industries emerges as an attempt to understand a segmented and convergent media environment, and account for the impacts of new technologies of information and communication on society. The creative industries are considered key industries in the information society due to its reliance on knowledge and information. As a consequence many countries, regions and cities adopted plans and strategies to attract and/or develop creative industries in their territories hoping to foster local economic development. This adoption is evident not only at core cities and regions, but also at non-core places that are hoping to become a significant node in the information society. This dissertation investigates such a case of a non-core city, via the analysis of the core media related creative industries in the city of Salvador, Bahia, Brazil. The analysis of Salvador’s core media related creative industries indicates the importance of the logic of proximity/agglomeration and concentration for the creative industries, and also indicates how a non-core city incorporates the concept the creative industries and the media related creative industries into its development planning and economic development strategy. / text

Happiness, ritual, and sovereignty are artists’ persistent aspirations in the African- and Afro-Asian diasporas. “The Cinema of Social Dreamers” explores why the dreamscape is increasingly becoming the creative form for the expression of these social ambitions. This dissertation particularly spotlights the award-winning films and new media projects that exploit the dreamscape aesthetic in contemporary Caribbean and diasporic art. My analysis focuses on this tropical region, as well as its transnational impact in Canada, Mexico, France, the United Kingdom, and the United States. Central to this manuscript are the artists Mariette Monpierre, Michelle Mohabeer, and Minia Biabiany. I specifically engage their questions of happiness, spirituality, sexuality, and sovereignty in the wake of colonialism. The range of the narrative media these artists employ—from installation art and new media to sensational melodramas—also evidences the richness of the contemporary moment. While their award-winning works have flourished in niche film festivals and at fine art institutions, “The Cinema of Social Dreamers” is the first to present them as the subject of deep comparative analysis. By placing the Caribbean archipelago at the center of my work, I also highlight that the economy of art-making (and art history) remains a complex interdisciplinary, multilingual, and transnational project.

Around 1990, artist David Hammons transformed into arguably the best known African American artist in contemporary art, following a Rome Prize and retrospective at MoMA P.S.1. The type of mainstream “discovery” that led to his increased visibility, however, had originated in the multicultural turn of the 1970s-80s, which actively sought diversity in cultural programming. While artists of color gained more exhibition opportunities during this period, their longstanding communities of artists, teachers, and collaborators continued to be ignored. Hammons has since withdrawn from typical art world conventions, giving few interviews, working without gallery representation, and refusing museum retrospectives. Scholarly literature has tended to fixate on his approach as the provocative antics of an art world trickster, a word he himself has used. Still other scholarship has framed Hammons as critiquing the luxury art commodity after Marcel Duchamp or has contextualized his early body prints within lineages of Black Arts radicalism in California. However, these approaches do not fully address Hammons’s tactics as serious refusals of white institutional expectations in the 1970s-80s. This dissertation historicizes “obscurity” as fundamental to Hammons’s sculptural assemblages, street performances, and public art installations as a means by which to reroute the limits of art world legibility--how he both pointed to and evaded the frameworks of inside and outside, “known” and unknown, that hemmed in readings of black artists by a well-meaning, liberal multiculturalism. The project argues that Hammons’s actions, and more importantly his artworks, are not acts of solitary individual genius, but are made legible through their relation to other sets of archives, objects, viewers, and artmakers whose bases for knowledge defy what dominant white institutions, given more voice and credence, have considered permissible or even significant. Obscurity is a potential side effect of opacity, as outlined by Édouard Glissant, which references the opaque, experimental, “difficult” tactics that defy the conventions of mimesis and illusionism. Hammons’s staging and wielding of obscurity puts into relief the consequences of what is meant when we say something is “obscure,” “outside,” “other,” or “marginal,” isolating these as discursive positions predicated on relative positions of power, rather than essential truths. Amid a post-Black Arts Movement milieu, his work calls attention to an overlapping range of black cultural producers who must be seen as dynamic and vibrant, rather than marginal. Drawing on original archival research and previously unpublished documentation, I focus on the period 1974 to 1989, a part of Hammons’s career in New York that has not been researched in depth. Muddying traditional boundaries between histories of African American art, American art, and avant-gardism after World War Two, I draw upon postcolonial and critical race theories to understand Hammons’s genre-defying works as rejoinders to the limitations of both modernist and African diaspora art historical narratives.

A thesis submitted in fulfillment for the requirements of the degree of Doctor of phisophy in the Faculty of Arts, in the Department of IsiZulu naMagugu at the University of Zululand, South Africa, 2005. / This study will be focusing on visual and performance artists. It is the plight of artists that they work hard in their artistic disciplines, but do not benefit to the equivalence of their efforts. There are many reasons for this. Crafters are dependent on a sound tourists industry. The study will be looking at some of the reasons and concems then try to provide what could be some answers and solutions. Art is generally thought of as the development of performance skills and or craft manufacturing within a small minority of youth or community performers, usually selected on the basis of talent and motivation. The research leading to this study has been to a large extent, motivated by the need for a more comprehensive and holistic concept This will lend itselfto a fuller exploitation and will have potential for assisting larger numbers of artists to achieve a wide range of educational outcomes in art administration, instrument manufacturing, actual artistic performance and craft production. A large number of arts practitioners internationally feel that understanding a country occurs through its arts and culture. The arts of any country is actually the mirror of the country. This study will look at the arts of South Africa and the impact it has on the proudly SouthAfricans and the tourism industry at large.This study will have two primary purposes: a. to make justification for artists (visual and performance) and, b: to suggest ways in which artists can more prominently and profitably feature in the tourism industry and their sustainability as artists and proud members of South African communities. It is important to note that South African artists exist in highly diverse communities which are influenced by many factors such as: • heritage • cultural fabric • ethnic identity • experiences • different beliefs and convictions

No description available.

Thesis (MPhil)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The Performing Arts Councils (PACs) have been the primary recipients of national public funding for the performing arts, accounting for nearly half of the arts and culture budget of the Department of Arts, Culture, Science and Technology (DACST). They had to be restructured in order to free public resources for allocation to other disciplines and areas in need of redress. The four PACs addressed in this study are The Playhouse Company (Durban), Artscape (Cape Town), PACOFS (Bloemfontein), and the Spoornet State Theatre (Pretoria). The purpose of the study was to determine whether or not the PACs had achieved the transformation goals as defined by DACST. The research was approached from a qualitative perspective to ensure that as much nuanced information as possible was collected within a limited timeframe and financial constraints. Where necessary, as in analysis of staff and expenditure, quantitative analyses were undertaken. The study found that the process of converting PACs to playhouses had been inconsistently implemented, although some of the PACs had come a long way in transforming themselves. Funding was obtained from government subsidies, NAC funding for specific projects, sponsorships, and other minor sources of income such as box office sales. Traditional forms of the performing arts, specifically opera and ballet, still accounted for a large portion of the total expenditure. PACs have had considerable difficulty in obtaining provincial and local government support, or adequate business sector support to make them viable as stand-alone entities. None of the PACs has been able to secure sustainable funding on a reliable basis to meet their requirements. DACST regards the implementation of a Community Arts Development (CAD) component and the establishment of the NAC as essential for an equitable arts dispensation in the country. CAD is meant to provide education and empowerment of people from previously disadvantaged communities, access to PAC venues and NAC funding, and awareness and outreach programmes. The CAD component varies substantially from PAC to PAC. The White Paper on Arts, Culture and Heritage recognises that the future of arts and cultural expression lies in the development of new audiences and markets. Audience development and facilitating access to venues has been left to the PACs, with little effect in some cases. The transformation of the staff profile of PACs to reflect the demographics of their provinces has been achieved. As the resultsof the study show each PAC took it upon itself to transform itself in its own way. As a result, transformation by the various PACs was found not always to be in line with the imperatives contained in the White Paper on Arts, Culture and Heritage (DACST, 1996). / AFRIKAANSE OPSOMMING: Die Rade vir Uitvoerende Kunste (RUK) was tot op hede die vernaamste ontvangers van nasionale staatsbefondsing vir die uitvoerende kunste, en het bykans vyftig persent van die Departement van Kuns, Kultuur, Wetenskap en Tegnologie (DKKWT) se begroting vir kuns en kultuur verteenwoordig. Hierdie Rade moes herstruktureer word sodat staatshulpbronne wat vir ander dissiplines en gebiede wat regstelling nodig gehad het, aangewend kon word. In hierdie studie is die vier Rade vir Uitvoerende Kunste "The Playhouse" (Durban), "Artseape" (Kaapstad), RUKOVS (Bloemfontein) en die Spoornet-staatsteater (Pretoria) bestudeer. Die doel van die studie was om te bepaal of die Rade vir Uitvoerende Kunste 'n transformasie, soos gedefinieer deur die DKKWT, ondergaan het. Die navorsing is vanuit 'n kwalitatiewe perspektief benader om te verseker dat so veel moontlik genuanseerde inligting binne 'n beperkte tydsbestek en te midde van finansiele beperkinge ingesamel is. Waar nodig, soos in die analise van personeel en uitgawes, is 'n kwantitatiewe benadering gevolg. Daar is bevind dat daar deurgaans uitvoering gegee is aan die omskepping van die Uitvoerende Kunsterade in skouburgteaters, hoewel sommige Rade reeds 'n ver pad met betrekking tot selftransformasie geloop het. Befondsing was afkomstig van staatsubsidies, NUK-befondsing vir spesifieke projekte, borge en ander minder beduidende bronne, byvoorbeeld inkomste uit kaartjieverkope. Tradisionele vorms van die uitvoerende kunste, veralopera en ballet, het steeds 'n beduidende deel van totale uitgawes uitgemaak, en Rade vir Uitvoerende Kunste het groot probleme ondervind om genoegsame steun van provinsiale regerings, plaaslike owerhede en die besigheidsektor te werf om hulle in staat te stelom as lewensvatbare en onafhanklike entiteite te funksioneer. Nie een van die Rade vir Uitvoerende Kunste kon daarin slaag om befondsing van 'n standhoudende aard te bekom waarop hulle kon reken om aan hul vereistes te voldoen nie. Die DKKWT beskou die implementering van 'n Gemeenskapskunsontwikkelingkomponent (GKO) en die stigting van die NUK as onontbeerlik vir 'n regverdige kunste-bedeling in die land. GKO beoog om voorsiening te maak vir die opvoeding en bemagtiging van mense III die voorheen agtergeblewe gemeenskappe, toegang tot plekke waar GKO-optredes gehou word, NUKbefondsing, asook bewustheids- en uitreikprogramme. Die GKO-komponent wissel aansienlik van RUK tot RUK. Die Witskrif oor Kuns, Kultuur en Erfenis erken dat die toekoms van kuns- en kulturele uitdrukking in die ontwikkeling van nuwe gehore en markte opgesluit lê. Die ontwikkeling van gehore en makliker toegang tot plekke waar optredes aangebied word is in die hande van Kunsterade gelaat; in sommige gevalle met weinig effek. Die transformasie van die Rade vir Uitvoerende Kunste se personeelprofiel ten einde die demografiese werklikheid van elke provinsie te weerspieel was suksesvol. Soos duidelik uit die studie blyk, het elke Raad vir Uitvoerende Kunste onderneem om die transformasie op sy eie manier te implementeer. Die gevolg is dat die transformasie in die verskillende Rade vir Uitvoerende Kunste nie altyd tred hou met die bindende opdragte wat in die Witskrif oor Kuns, Kultuur en Erfenis (DKKWT, 1996) vervat is nie.

Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

In South Africa, the performing arts have contributed to enhancing national identity and distinctiveness despite coming up against weak legislation, policy and infrastructure to support their growth and proliferation (Fredericks, 2005: 9). Coupled with a decline in both government and consumer support and the contradictory disparity between valuing the arts and the funding of the arts, theatre companies can no longer rely on the comfort of external subsidies and financial support. In order to be economically viable and sustainable to ensure their survival, there is an increasing demand for theatre companies to look to novel ways of increasing audience demand for theatre and improving audience attendance. However, instead of risking artistic integrity and the performance product to satisfy the market, this research suggests that promotion and development of theatre at arts festivals provides a platform to access a wider theatre-going public, which therefore facilitates a change in the market focus toward appreciation of the product (production). It explores leading arguments pertaining to the attendance of arts and cultural events, namely, Peterson and Simkus (1992), later updated by Peterson‟s (2005)„omnivore-univore‟ argument. The argument purports cultural consumption as binary in nature: either significant and diverse or limited, if not absent altogether. Supported by a number of case-studies, including Chan and Goldthorpe (2005) and Montgomery and Robinson (2008) and Snowball et al. (2009), the investigation challenges Bourdieu‟s (1984) theory on cultural distinction as well as the homology and individualisation argument. In determining the factors that influence cultural taste and consumer behaviour, including motivators and inhibitors of attendance and a predominant emphasis on audience risk and information asymmetry, the research was placed in a local context, providing an overview of the socio-economic theatre environment in South Africa. It investigated the nature, structure and impact of local festivals (as events) in changing audience demand and theatre attendance. With specific reference to the South African National Arts Festival (NAF) the research notes the effects of Hauptfleisch‟s „eventification‟ phenomenon on univore attenders and therefore expands the omnivore-univore theory to include a new breed of attender: the “Festivore”. A case study explored the “Festivore” hypothesis through empirical research, surveys and face-to-face qualitative interviews and on-seat questionnaire responses by festival attenders. Personal interviews and communication was also carried out with leading experts in the field. The data was then analysed using SPSS 13 electronic statistical analysis programme to determine the socio-demographics and the factors that affect theatre attendance of existing, as well as potential target, theatre audiences at the National Arts Festival The study concluded that South African theatre attenders are generally omnivorous consumers and that, more importantly, there seems to be a shift towards „festivorous‟ consumption. Furthermore, evidence supports the development and proliferation of festivals as a means not only to support and promote the arts in South Africa but, more importantly, to generate new theatre audiences and entrench theatre attendance into South African culture.