South African Cultural Observatory 4 th Engagement Colloquium 29 - - PowerPoint PPT Presentation

▶
south african cultural observatory
SMART_READER_LITE
LIVE PREVIEW

South African Cultural Observatory 4 th Engagement Colloquium 29 - - PowerPoint PPT Presentation

Jun 25, 2023 473 likes •683 views

South African Cultural Observatory 4 th Engagement Colloquium 29 October 2018 What is the creative economy? The creative economy looks at the relationship between creativity and economics, leading to a growing understanding of the nature

slide-1
SLIDE 1

South African Cultural Observatory

4th Engagement Colloquium 29 October 2018

slide-2
SLIDE 2

What is the creative economy?

The “creative economy” looks at the relationship between creativity and economics, leading to a growing understanding of the nature of the relationship between the two and the ability to create wealth and extensive social value. Its an evolving concept based on creative assets potentially generating economic growth and development.

  • It can foster income generation, job creation and expert earnings while

promoting social cohesion, cultural diversity and human development

  • It embraces economic, cultural and social aspects interacting with

technology, intellectual property and tourism objectives

  • It is a set of knowledgebase economic activities with a development

dimension and cross-cutting linkages at macro and micro levels to the

  • verall economy.
  • It is a feasible development option calling for innovative, multidisciplinary

policy responses and inter-ministerial action

slide-3
SLIDE 3

Wide variety of work using diverse research methods: Some examples from SACO 1

slide-4
SLIDE 4

Measuring the value of culture

Intrinsic cultural values

  • Unique value of culture itself
  • The aim of production in the first

place

  • “Art for art’s sake”
  • For example: to entertain, delight,

explain, explore, challenge, question, make meaning, enhance national pride & identity, educate …

  • Measured by: Social surveys;
  • pinion questions; Willingness to

pay; quality of life; historical analysis

Instrumental values

  • May not be unique to culture
  • Not the primary purpose of cultural

production

  • For example: tourist spending

leading to economic growth & development; job creation; infrastructure investment; “image” enhancement …

  • Measured by: Economic impact

Investment in Cultural Capital (Flow) Stock of Cultural Capital Depreciation of Cultural Capital (Flow)

slide-5
SLIDE 5

Defining the creative sector

slide-6
SLIDE 6

Audience developme nt & education Human capital & Profession al capacity building Inclusive economic growth Social cohesion & Community developmen t Reflective & Engaged citizens

Cultura l Value

Cultural Festivals and Events

Antrobus, Seaman & Snowball

slide-7
SLIDE 7

Cultural mapping and regional culture policy

Drummond, Ndhlovu & Snowball Guidelines for Developing Effective Regional Cultural Policy

01

Identification

  • f what

resources are present (including human resources, soft and hard infrastructure)

02

Identification

  • f clusters

03

Analysis ofCCI labour markets and

  • wnership

patterns

04

Opportunities and challenges from the point

  • f view of CCIs

and other key stakeholders

05

Alignment of regional policy aims with provincial and national policy

  • bjectives

06

Design and implementatio n of a regional culturalpolicy

slide-8
SLIDE 8

0.48%

  • f

jobs 4.2%

  • f

jobs 2.04%

  • f jobs

6.72%

  • f jobs

Source: SA Cultural Observatory Mapping Study, 2018 (Hadisi & Snowball)

Working in the cultural & creative sector

48.1% 43.3% 41.6% 44.6% 65.7% 29.8% 30.2% 29.5% FORM AL: ALL I NFORMAL: ALL INFORM AL: W OMEN INFORM AL: MEN

Cultural Non-Cultural

slide-9
SLIDE 9

9

The impact of intellectual property in the (micro) creative industries: Shweshwe in South Africa

  • In addition to direct production and sales,

Shweshwe is used as an input by more than 5000 small businesses in SA, which are associated with 10 to 12 thousand jobs.

  • The import of ready-made “fake” Shweshwe

garments, especially those that also copy the back stamp, thus will impact negatively the SMMEs and jobs in the sector.

Mapuma & Snowball

slide-10
SLIDE 10

Transformation & the creative sector

Collins, Tarentaal & Snowball

65% 52% 45% 63% 58% 27% 44% 41% 17% 40% 47% 46% 48% 53% 18% 50% 31% 26%

Percentage with at least 1 Black owner Percentage with at least 1 Woman owner Percentage with at least 1 Youth owner (up to 34 years

  • ld)

Design & Creative Services Visual Arts & Crafts Audio-Visual & Interactive Media Performance & Celebration Books & Press Cultural & Natural Heritage

slide-11
SLIDE 11

1.7% of GDP (2016) CCI growth rate of 4.9% (2011-2016) compared to 1.6% for whole economy Fastest growth rate in Domains E & F

11

National level statistics & policy

8% 12% 20% 45% 2% 7% 6% A.Cultural & Natural Heritage B.Performance & Celebration

  • C. Visual Arts & Crafts
  • D. Books & Press

E.Audio-Visual & Interactive Media F.Design & Creative Services

  • G. Cultural education

Source: SA Cultural Observatory Mapping Study, 2018

slide-12
SLIDE 12

International Trade in Cultural Goods

0.00 0.10 0.20 0.30 0.40 0.50 0.60 0.70 0.80 0.90 2007 2008 2009 2010 2011 2016

Domains A to F total exports

2012 2013 2014 2015

Domains A to F total imports

Cultural Goods Exports and Imports Shares

50000000 100000000 150000000 200000000

  • A. Cultural and B. Performance C. Visual Arts

Natural Heritage and Celebration and Crafts Press and Interactive Media

  • D. Books and E. Audio- visual F. Design and

Creative Services

Exports Imports

Exports and Imports by Domain (US $) 2014-2016 averages

slide-13
SLIDE 13

Film & Television Strategy for SA

Conceptualisation

Development Pre- production Production Post- production Circulation Delivery

Audience consumption

Research R&D Ideas Brainstorming Formulating the proposal Scriptwriters Producers Broadcasting Commisioners Financing Prepare: Concept Treatment Storyboard Film or video script Casting Location selection Costing andbudgeting Plan: Schedule Resources and equipment Rehersals Filming / recording Lighting Directing Acting Exhibiters Broadcasters Film distributors Video distributors Storing Capturing video Editing Titling Audio / sound effects Dubbing Test screening Access to facilities Cinemas Electronic communication Education

Gouws, Snowball, Vermeulen, Ndhlovu, Shelver

slide-14
SLIDE 14

Communicating results

  • Workshops & Infographics

Lutshaba, Garman, Antrobus & Snowball

slide-15
SLIDE 15

Interested? Next steps

slide-16
SLIDE 16

How can you get involved in SACO?

slide-17
SLIDE 17

What does SACO fund?

  • Each output is different, and has different funding

requirements, so the budget is negotiated. It could include funding for:

  • Research assistants (students)
  • Consulting time (academics & other researchers)
  • Fieldwork costs (travel, data collection & capture, specialist

equipment and databases etc.)

  • SACO does not fund ACH events or groups: it is primarily

based on research and capacity building (training workshops).

slide-18
SLIDE 18

What to do next?

  • Communicate your interest: Contact Unathi Lutshaba

(SACO Executive Director) unathi.lutshaba@mandela.ac.za

  • Tell us about your interests, expertise, past and current

research, postgrad students.

  • Read the SACO research agenda to see where you

could fit in;

  • Think about the policy relevant output (report/tool) or

capacity development (short-course/workshop) that you could develop.

slide-19
SLIDE 19

fa

RH O l : > ESllNJVERSrrv w.nlt.k."""' Universityof FortHare

ni,.dw...........

south african cultural observatory

THANK YOU!

slide-20
SLIDE 20

www.southafricanculturalobservatory.co.za @SACulturalObservatory https://www.linkedin.com/company-beta/10581051/ @SACulturalObs

T: +27 41 504 4930 E: info@southafricanculturalobservatory.co.za 21-23 Donkin Street, Central, Port Elizabeth, 6000, Eastern Cape, South Africa