The Migrant Artist's Handbook by African Arts Institute

THE MIGRANT ARTIST’S HANDBOOK

A guide to living and working in Cape Town & Johannesburg

A publication by the African Arts Institute African Arts Institute

An African Arts Institute Publication The Migrant Artist’s Handbook: A guide to living and working in Cape Town & Johannesburg Published by the African Arts Institute Union House, Second Floor, 25 Commercial Street, 8001 Cape Town, South Africa Tel: +27-21-465 9027/8 | info@afai.org.za African Arts Institute © 2011 ISBN: 978-0-9869900-4-5 Conceptualization team: Jedaja Ikoli, Ronald Muchatuta, Marcelino Manhula, Richard Mudariki, Musa Banda, Cosmas Mairosi and Mwila Mambwe Content director: Rucera Seethal Editor: Liepollo Rantekoa Design and layout: Natasha Johnson Research and production: Patricia Matongo 'Starting out in the arts' contributors: Neo Muyanga, Concord Nkabinde, Rhoda Isaacs (Music); Aryan Kaganof, Dylan Valley (Film); Mamela Nyamza, Mwenya Kabwe, Quanita Adams (Performing Arts); Kemang Wa Lehulere; Mimi Cherono Ng’ok (Visual Arts); Phillippa Yaa De Villiers, Colleen Higgs (Literature) 'General info and resources' contributors: Joyce Tlou, Braam Hanekom, David Burgsdorff, Hilton Johnson, Marco Zumpt and thank you to the City of Joburg Migrant Help Desk Every effort has been made to ensure that the information contained in this book is complete and accurate and to trace copyright holders to obtain permissions for the use of copyright material. All contacts and web addresses were checked to be current and functioning at time of publication. The publisher apologises for any errors, omissions or outdated contacts and web addresses and would be grateful if notified of any corrections that should be incorporated in future reprints or editions of this book.

Preamble The African Arts Institute (AFAI) is committed to distributing data and information relevant to building, promoting and sustaining the African creative sector; to foster the growth of arts-related micro-enterprises and to create opportunities for employment in this sector. This handbook then, undertakes to provide to both Migrant and South African start-up artists, resources, references, and tools to approach various arts disciplines with self-fulfilling and self-sustaining imperatives. AFAI sought migrant artist representatives to identify and discuss the challenges faced by their communities both on the level of survival within South Africa, but also concerning artistic production on a self-sustaining basis. Representing the visual arts were Jedaja Ikoli, Ronald Muchatuta, Marcelino Manhula and Richard Mudariki. Musa Banda represented music and Cosmas Mairosi poetry with Mwila Mambwe representing both poetry and music. In understanding that one is a human being first before an artist, the handbook includes two sections. The first part of the handbook aims to service start-up artists with limited capital resources; it assumes artistic practice to artists as a basic need; it provides advice and experience through the words of established artists; and aims to impart basic business guidance to assist the artist in his or her self-sustaining objectives. The second section of the handbook is resource focused, providing information and giving direction on issues pertaining to personal documentation, legal and finance matters.

A note to the artist This handbook is a resource and a guide. It brings to you advice from artists from various backgrounds and stages of their careers, who have learned through both experience and training. Before navigating this handbook, it is important to ask yourself what you wish to achieve through your artistic production. Knowing this will guide you in selecting which resources and what experience is relevant to you. For example, as a musician perhaps you seek fame? Or to work with musicians you respect? To compose music? To highlight social issues? To make money? Any answer is valid – the important thing is to identify what your aims are as these will provide a consistent point of departure for the choices ahead of you, and put you in a better position to identify and build on your successes. A musician for whom fame is important might spend time listening to popular radio, invest heavily in branding him or herself, and actively pursue a record company to sign with; whereas the musician whose purpose is to highlight social injustices might find social media and live performance an important tool for sharing music, communicating a message and building a dedicated listenership. As a creative person, do not underestimate your ability to innovate and dream – this is your most powerful resource. As you work towards your aims, don’t limit your creativity to an end product – extend your abilities to all aspects of your work. There are many ways of doing any one thing. Instead of being paralysed by the cost of hiring film equipment – shoot a film from your cell phone. While you are trying to get a gallery to sign your work, host an exhibition in your home or speak to local business to exhibit your work on their wall space. Need an income while you develop a body of work? Cook a meal and charge your friends to attend. Collaborate with other creative producers to press and release your CD. All of the above have been done, with varying degrees of success – depending on what the artist’s intention was. You must build your own paths to your objectives.

TABLE OF CONTENTS 1) Starting out in the arts:

2.2) Communications

MUSIC Overview Music handbook In conversation with Concord Nkabinde Contributors Resources

07 08 12 15 16

FILM Overview Film handbook In conversation with Aryan Kaganof Contributors Resources

19 20 28 30 31

PERFORMING ARTS Overview Performing arts handbook In conversation with Quanita Adams Contributors Resources

33 34 38 40 42

VISUAL ARTS Overview Visual arts handbook In conversation with Mimi Cherono Ng'ok Contributors Resources

45 46 50 52 53

LITERATURE Overview Literature handbook In conversation with Phillippa Yaa de Villiers Contributors Resources

59 60 67 69 70

2) General info & resources: 2.1) LISTS Further education Funding & Bursaries Awards & Competitions Festivals Retail outlets Casting agencies

73 75 76 77 79 81

The internet as a sales & marketing tool Communications English courses

82 83 85

2.3) Business Basic financial management Opening a bank account Quotes Invoices Cash receipts Stock movement / Delivery note

85 87 89 90 91 92

2.4) Personal documentation resources Definition of a refugee Refugee responsibilities Home Affairs refugee reception offices Asylum seeker permit Failure to renew a permit Refugee status Refugee ID United Nations travel document Permanent residence Exceptional skills work permit Study permit Business permit Life partner permit Documentation required Lost permit Human trafficking RESOURCES

92 93 94 94 94 94 94 94 94 94 95 95 95 95 95 96 96

Legal assistance Artists legal documents Other legal services Copyright

97 99 102

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I think the scene here benefits whenever we accept that we are not homogenous or monolithic – variety is not just good for ‘spicing things up’ it is necessary for continual evolution ... my advice is don’t break into a scene, make your own universe and invite people to party in it. Neo Muyanga South African singer and composer

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OVERVIEW The story of South African music is one of dialogue with imported forms, and varying degrees of hybridisation over the years. From the earliest colonial days until the present time, South African music has created itself out of the mingling of local ideas and forms with those imported from outside the country, giving it all a special twist that carries with it the unmistakeable flavour of the country. In the Dutch colonial era, from the 17th century on, indigenous people as well as settlers, migrants and slaves adapted Western musical instruments and ideas. The Khoi-Khoi, for instance, developed the ramkie, a guitar with three or four strings, based on that of the Malabar people, and used it to blend Khoi and Western folk songs. Western music was played by slave orchestras (the governor of the Cape, for example, had his own slave orchestra in the 1670s), and travelling musicians of mixed-blood stock moved around the colony entertaining at dances and other functions - a tradition that continued into the era of British domination after 1806. In a style similar to that of British marching military bands, coloured (mixed race) bands of musicians began parading through the streets of Cape Town in the early 1820s, a practice that was given impetus by the travelling minstrel shows of the 1880s and has continued to the present day with the annual Cape Town carnival. The penetration of missionaries into the interior over the succeeding centuries also had a profound influence on South African musical styles. In the late 1800s, early African composers such as John Knox Bokwe began composing hymns that drew on traditional Xhosa harmonic patterns. The missionary influence, plus the later influence of American spirituals, spurred a gospel movement that is still very strong in South Africa today. Drawing on the traditions of churches such as the Zion Christian Church, one of the largest such groupings in Africa, gospel music has exponents whose styles range from the more traditional to the pop-infused sounds of, for instance, singer Rebecca Malope. Gospel, in its many forms, is one of the best-selling genres in South Africa today, with artists who regularly achieve sales of gold and platinum status. The missionary emphasis on choirs, combined with the traditional vocal music of South Africa, and taking in other elements as well, also gave rise to a mode of a capella singing that blended the style of Western hymns with indigenous harmonies. This vocal music is the oldest traditional music known in South Africa. It was communal, accompanying dances or other social gatherings, and involved elaborate call-and-response patterns. The development of a black urban proletariat and the movement of many black workers to the mines in the 1800s meant that differing regional traditional folk musicality met and began to flow into one another. For example, as the focal point of Ngqoko, a group of traditional bowsingers from the Eastern Cape, NoFinish Dywili took the traditional music of the abaThembu people from obscurity to local and international renown. Western instrumentation was used to adapt indigenous songs, which in turn started to influence the development of new hybrid modes of music-making (as well as dances) in South Africaâ&#x20AC;&#x2122;s developing urban centres. South African music evolution and composition is characterised by styles such as marabi-swing of the 1890s which later influenced mbaqanga (early South African jazz) and kwela in the 1950s; boeremusiek in the 1900s; afro jazz in the 1980s whilst pop music had gained popularity from the first commercial recordings in 1912; and kwaito came to the fore in the 1990s. Read more on Kwela, Mbaqanga, Marabi, Jazz at home and in exile, pop, rock, bubblegum and kwaito at: www.southafrica.info/about/arts/music.htm#ixzz1fAvn1srm

MUSIC HANDBOOK GETTING STARTED 3 P’s – what to focus on as a musician Performance producer Rhoda Isaacs stresses the importance of practicing, playing and promoting. She warns starting musicians who are seeking record company deals of signing with a record company too early in their careers. When a musician is an ‘unknown’, recording contracts can include less favourable royalties. Rather Isaacs advises that musicians put in the effort of improving their own skills, develop new work, and promote themselves before approaching a record company. But as singer and songwriter Neo Muyanga says – “the challenges are always about survival – in order to build on success, one has to be around for the long haul”.

PRACTICE3, FIND YOUR VOICE Practice, practice, practice and listen are consistantly advised by musicians and those working in various creative industries. Learning about and developing your musical ‘voice’ is perhaps the most vital thing you can do at the beginning of your career, many musicians work through scales and techniques daily or more frequently to achieve this. Also build your own knowledge, follow your interests and be curious: Read writings on other musicians, go to the library, music stores, your favourite DJ’s sets, youtube – listen and explore other sounds. Neo Muyanga has a daily routine: “I get into my studio at the same time everyday and begin by working through the same scales and techniques until I make a mistake – the mistake usually leads to the creation of new work.”

PLAY Playing is important to get your sound and name known by the public and musical peers. Money can be earned as a set-musician, but other musicians need to have heard and seen you perform, perhaps even played with you before they consider approaching you to work with them. Through playing with other musicians, in addition to gaining experience, you can also learn from them musically and from their own experiences as a musician in a shared or different context. At performances, go with your instrument to join in, should the opportunity arise – most musicians are happy to jam with new artists. Finding your own gigs can be hard, but it's very important. Be creative and proactive, as a creative person you can be innovative in all areas including the organising of jam-sessions.

See page 17 for links to

performance venues

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PROMOTE Outside of performing live, there are several steps you can take to selfpromote your work, get your name known and sell your work, such as using social media networks, creating a Demo CD, an EPK, and planning a presentation of your music and CD to the store’s buyer (the buyer is responsible for selecting what stock to sell in the store).

Make a Demo A demo version or demo of a song (shortened from the word “demonstration”) is one recorded for reference rather than for release. A demo is a way for you to communicate your musical ideas and provide an example of those ideas to record labels, producers, or other artists. Many unsigned bands and artists record demos in order to obtain a recording contract which will allow them to be signed onto the label’s roster and to record a full-length album in a professional recording studio. However, large record labels usually ignore unsolicited demos and you should be more creative about getting the demos into the hands of the people who make decisions for the record company.

Making an EPK on CD or online An EPK (electronic press kit) is a press kit equivalent in electronic form. Typically an EPK should give as much information as possible about you and your work, and albums you have made. This can include some sample songs, a biography of the band and each musician, a short write-up describing your music, video clips of performances, performance dates, press reviews, listings and interviews, contact information, and the track list of your recent album if you have one.

See “The Internet as a Sales and Marketing Tool” chapter on page 82.

6-step tutorial

for recording at home or in a professional recording studio: www.wikihow.com/ Make-a-Demo-CD: www.en.wikipedia.org and wiki Demo_%28music%29

Further reading:

www.ourstage.com/ blog/2009/6/3/how-to-puttogether-a-knockout-epk

DOING IT ALONE Access your resources

Musician Concord Nkabinde, reflecting on the changing music landscape and digital influences therein says “the majority of my peers are still ignorant and intimidated by the thought of the digital world and exploring the digital social space. It is really a sad affair seeing that most of history is now being captured and preserved digitally. This means a bulk of our history will not be readily available because the ones who are creating what will become history might have limited perspectives and might not be open to sharing on these open platforms. “In my view computers have become essential for the less privileged. Any device that will cut travel costs, that will help you deliver anywhere in the world in a flash, a device that can help you run an office effectively without physical space is definitely for the disadvantaged. I even go on 9

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to say there is no way you can make great success as an independent artist without unlimited access to a computer and the internet. This is also not as expensive as it is often made out to be. With good planning and prioritising, new artists with limited resources can make these tools available to themselves. The unfortunate reality with the digital world is that the longer you take to jump on the train, the faster it moves and the harder it becomes to catch up.â&#x20AC;? WikiHow has numerous music producing and recording how-to articles with step-by-step instructions and photos at: www.wikihow.com/ Category:Music-Producing-and-Recording Related articles can be found under Media and Software: www.wikihow. com/Category:Media-Software

MAKING MONEY Concord Nkabinde was asked to give advice to starting musicians with an interest in practicing music, and in music as a self-sustaining occupation specifically about what areas or avenues are more profitable for musicians in South Africa. Here is what he had to say: "Unlike some career paths, the Arts define the path and destiny the further you get involved and the greater your understanding of self and of the possibilities within the industry. It is important to also note that a 'true artist', whatever that means, is not one who tries to find ways that have brought success for others and then tries and copy them. A 'true artist' creates new things and new paths and that is where the 'success' lies. So let us not get carried away with what might bring in more money as if we can guarantee the outcomes of the the journey. "What I always advise young music students to do is not to be picky and choosy as to what they want to learn at this early stage of their career. Some even limit themselves to only learn within a particular style of music and ignore and hate other styles. By so doing, you are limiting or closing possibillities of being a broader creative person and artist. Many musicians who started out thinking they will become superstars, end up in other areas that they may not have thought of but still find them rewarding in terms of 'job' satisfaction as well as financial benefit. Some of these areas could be composing music for film, teaching music,

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managing artists or being a booking agent, producing recordings, writing about the arts, just composing for other artists and projects, selling musical instruments, etc. All these possibilities can become a reality if we are open minded about learning as much as possible at the early stage of our musical careers. "I don’t think there is one part of the industry that one would say is more profitable than another. In all areas there are those who do extremely well financially and those who don’t. There are also many who are in-between and happy. "Personally I spread the effort and the returns are quite spread as well. That is the kind of stability I prefer and don’t want to depend on one aspect just in case, for some reason, I end up not being able to execute certain duties. We have to think long-term and think of engagements that have a return on investment for years, such as composing music and making sure it gets used as much as possible."

SELLING YOUR MUSIC ONLINE: Further reading:

“How do I sell Online?:” New Music Strategies. www.newmusicstrategies. com/2008/04/04/how-can-isell-my-music-online/> Dubber, A 2007, New Music Strategies: The 20 Things you must know about music online. www.newmusicstrategies. com/ebook/

Performing When Neo Muyanga started BLK Sonshine with Masauko Chipembere he juggled several balls to survive: “I had various day jobs while we were building a following for BLK Sonshine, then when we were ready to release our first record I became a musician fulltime, day and night. We had to commit to being ‘on the road’ permanently for 3 years in South Africa, the USA and Europe.”

See

page 17 for a links to Johannesburg and Cape Town musical performance venues, and page 77 for list of National music festivals.

Read about how concerts can be beneficial: www.entertainment.howstuffworks.com/concert-tour.htm

SELLING YOUR MUSIC ON CD:

You can approach music stores to stock your CD if you have one, Rhoda Issacs suggests. You will need to set a meeting with the store buyer, take with you about 12 copies of your CD and EPK, and prepare a professional presentation to the buyer. Remember that the buyer wants to know if your CD will sell – and this is what you need to convince him or her about. Things like previous sales figures (even from selling out of your backpack after a performance) and price points are important.

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in conversation with Concord Nkabinde

Learning from others I had worked for years with artists who were pursuing their solo creative paths, mostly those who were signed to big record companies. This period, working under these artists, was a school, an education that afforded me knowledge and experience that could not have been found at any educational institution, especially ones which have modules on the business of music. For me that time brought the consciousness to realize the difference between: (1) what the industry and public see as 'success' and (2) what it means to be a good and respected artist. There was no way being signed to a big record label could help further my agenda of becoming good at what I do and respected for it. Record labels just don’t share that vision. They probably don’t have to entirely share that vision with an artist but when their drive for profit stiffles the artist’s vision, then it is not worth 'The Deal'. I felt I needed to run my affairs as a record label, a music publisher, a music producer, a publicist, a marketing director and still be an artist. This was a necessary process not because I wanted to be controlling but because I needed to define within myself how my vision can and should remain consistent through all these aspects of my career and life. Then one day when I employ people to take care of certain business aspects on my behalf, I would know exactly what has to be done, how it should be done and what it should cost. Most artists’ lack of basic knowledge of the business weakens them when it comes to any form of negotiating. It 12

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also robs them of a depth of understanding of how effective they can be in the industry and in the world, as artists. 'Doing it alone' or being an independent artist does not have to mean you have to physically do everything yourself. To me it means having the right and the ability to decide who your partners will be. If you are signed by a record label, especially a big one, you don’t have the leisure of choosing your business partners.

FINANCE WITH VISION

Financing is a big challenge, however, the biggest challenge is having a clear mindset on what you are about. This impacts how you present yourself to opportunities and people who can help with accessing finance. No one wants to finance someone who has no clear direction and vision. Some artists do get the finance and still can’t get ahead because they lack vision. You need to know your strengths, particularly your non-musical strengths such as people-skills, being a good speaker or writer, a project manager, etc. It is amazing how all these skills, gifts and talents come in handy when you are independent and don’t have a massive budget.

CHALLENGES

Another challenge is to really ignore the industry pressure and projections of what it means to be successful or what the ‘right’ way of launching yourself into the industry is. We know that the general approach to launch one’s self into the music industry is by releasing a recording. But what about becoming a musician? These impulses explain for me why many recording artists seem successful but are yet to become musicians. Our music careers shouldn’t be about sales. They should be about displaying the highest level of creativity that inspires and leads others to apply their own creativeness in their lives. It’s amazing how through our music we can make such an impact on people and have such fun doing it. You will notice I am not dealing here with typical challenges such as finding musicians to play on your recording, booking a studio, getting distribution for your recording, finding a bar code, etc. As far as I am concerned, in this day and age those question can be answered by simply 'Googling it'. In fact, once you have come to the bottom of who you are and what you want to do, once you have the confidence of a good musician and performer, once you have done your research into the music business, once you have networked like crazy over the years, all those other pertinent questions will be so easy to deal with. I would recommend a book by Roy M. Spence, Jr. with Haley Rushing: 'It’s Not What You Sell, It’s What You Stand For.''

MARKETING ONLINE

It is sad to see so many musicians resisting exploring the digital space. We can’t deny that the world has changed and continues to do so at an alarming rate. Our industry is changing as well and we need to adapt. Social networking gives one a hands-on approach which can diminish that 'false' and unnecessary wall that gets created between the artist and the general public. Some artists do not buy into this personal approach because it makes them appear not as big a deal as they think they should be. It makes one accessible, which I personally think is great. These platforms give us newer ways to sell our music. Imagine at a click being able to recommend a new track you have just uploaded on Facebook or YouTube to two thousand followers, and they can listen to the track, comment and buy it if they like it. That beats a whole value chain process, helps you deliver faster and more directly and empowers the one who runs the business. Now those, my friends, are three tools the big record labels don’t want you to have control of as an artist. 13

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I hate to state the obvious but exploring the internet equals exploring the world at large. Nothing compares to the ability to speak to people and grow your audience whilst sitting in your own lounge at home. Obviously it is not as easy as that but that is how simple the principle is.

THE SOUTH AFRICAN MUSIC INDUSTRY

'South Africa has an amazing amount of talent and potential', these are words we hear all the time and they are true. However, what is the point of us quoting these words year after year, decade after decade, and that talent and potential never gets supported and exposed enough. There is a serious lack of insight in those who claim to support the arts, including Government, in as far as understanding the importance of Arts and Culture in what makes up a nation’s fibre, morally, historically and economically. The Arts are still seen as ways of “distracting the people from the real issues through entertainment”. When funders and government have that mindset, we are in serious trouble, hence the importance of working hard to become independent artists. Two things are generally not taken seriously in the music industry in South Africa: the technical expertise and the presentation of our live shows. We settle for bad sound, bad lighting and no stage design and artists also drop their standards when it comes to how they prepare and present themselves. Optimistically, I see the number of artists who are going the independent route – many of them still don’t know what they are doing partly because the Record labels and those in the know have hidden the information so much and for so long that the catching up process will take some time. Thank God for the internet and the age of information – the catching up process does not have to take too long. For a while the industry will be messy with everybody experimenting as independent artists and labels but eventually it will start clearing up and new and effective ways of doing business will emerge. We are already starting to hear more and more new and fresh music, music that comes directly from the artists’ heart, not being dictated to by some guy in a suit at a record company. Of course the reality is that some of this new music will be great and some will be ‘crap’. That’s how an unregulated industry works but the freedom and space to be, is necessary. * Constructed from an interview with Concord Nkabinde conducted by Rucera Seethal, November 2011

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CONTRIBUTORS NEO MUYANGA

Neo Muyanga was born in Soweto, into a long line of traditional composers and makers of the Timbila (Mozambican tuned wood percussion instrument). He studied the Italian madrigal tradition with choral maestro, Piero Poclen, in Trieste, Italy. In the mid 90s he co-founded the acoustic guitar duo, BLK Sonshine (together with Masauko Chipembere) garnering critical acclaim throughout Southern Africa and on tours internationally. Neo writes music, plays and composes for chorus, chamber and large ensemble (most recently his ‘Memory of how it feels’ was performed at the Baxter theatre, Cape Town). He has also composed music for and toured with Britain’s prestigious Royal Shakespeare Company, and South Africa’s celebrated Handspring Puppet Company and served as artist-in-residence at the University of Cape Town School of Drama. Muyanga also co-curates the Pan African Space Station - a portal that plays host to an archive of contemporary Pan African sound and art on the internet as well as live in venues across Cape Town and the globe.

CONCORD NKABInDE Concord Nkabinde’s interest in music began around the age of 10, in church. He got involved with many gospel music bands in Soweto and later ventured into the broader scope of the secular music industry. He became convinced that he needed to acquire more knowledge and experience. This led to him pursuing a Bachelor of Music Degree in Jazz Studies at the University of Natal, Durban. From there, he went on to teach music full-time in Soweto and Johannesburg, before deciding to pursue a career as a studio and touring musician. Nkabinde became a sought after bass guitarist, working with the likes of Abdullah Ibrahim, Zim Ngqawana, Hugh Masekela, Ray Phiri and many others. During this period Nkabinde also honed his leadership skills as a musical director and recording producer. His work as a producer includes recordings by Joyous Celebration 1, Wendy Mseleku's 'Picking up the pieces' and Tsunami's 'From clay'. He has toured internationally with Johnny Clegg, Zim Ngqawana, Darius Brubeck, Deepak Ram, Ray Phiri,Gito Baloi and others. Concord has also assisted numerous international performing artists who have toured South Africa, such as Roy Ayers (USA), Colin Black Vearncombe (U.K.), Sergio Diaz (Brazil), Efrain Toro (Puerto Rico) and others.

RHODA ISAACS Rhoda Isaacs has worked in the music industry for 14 years, coordinating events, juggling logistics and managing productions. She has done time for an independent record company but thrives in the live music business – loving, as she does, the creative magic of musicians, fantastic crews, the energy of a crowd, bright lights, gaffer tape and the smell of hardware. Isaacs currently lives in Cape Town, loves books and music, the ocean and her family, chosen and inherited.

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RESOURCES ORGANISATIONs: The Musicians Union of South Africa Phone: 011 836 0041 Southern African Music Rights Organisation www.samro.org.za/about/whatissamro Association of Independent Record Companies www.airco.org.za Composers Association of South Africa (CASA) www.composers.co.za Moshito www.moshito.co.za Music Managers Forum of South Africa (MMFSA) www.mmfsa.org National Organisation for Reproduction Rights in Music in Southern Africa LTD (NORM) www.norm.co.za

Ghyka, M. 2004, The Geometry of Art and Life 1946, Montana: Kessinger iTunes University www.apple.com/education/itunes-u/ MMINO 2010, Mapping of the South African Live Music Circuit 2010 www.moshito.co.za Muyanga, N 2009, A legacy of noteâ&#x20AC;Ś Louise Moholo in conversation with Neo Muyanga, Cape Town: Chimurenga. Available at www.chimurenganewsroom.org. Pan African Space Station (PASS) www.panafricanspacestation.org. Southern African Music Rights Organisation (SAMRO) www.samro.org.za Shaw, J 2010, The South African Music Business, 2nd Edition. www.sheetmusic.co.za

Recording Industry of South Africa (RISA) www.risa.org.za

Toop, D 2000, Rap attack 3: African rap to global hip hop, Serpents Tail

FURTHER INFO

rECORDING STUDIOS CAPE TOWN

(Books, audiovisual resources, and links to other resource lists): Dubber, A 2007/8 The 20 things you must know about music online, New Music Strategies. Available at www.newmusicstrategies.com

South African Coalition for Cultural Diversity: Music Industry Task Team (MITT) Report Available at www.saccd.org.za

Abbott Audio - Music Production and Recording Studio www.abbottaudio.org B & S Studios www.bandsstudios.co.za

Cape Town Sound www.capetownsound.com Desert Rose Music www.desertrosemusic.co.za Dreamspace Recording Studio, www.dreamspacerecording.com Heritage Sound www.heritagesound.net Milestone Studios www.milestones.co.za Red Bull Studio www.redbullstudio.co.za Sound and Motion Studios www.soundandmotion.co.za The Nut House Recording Studio www.nuthouse.co.za The Planet Art www.theplanetart.com

JOHANNESBURG Claude King Media Productions 16 Southern-Kliprivierserg Rd Phone: 011 435 9940 www.claudekingmedia.com Apex Multimedia www.apexmedia.co.za Blackbox Recording Studio Phone: 011 482 8728 www.bizcommunity.com/company/ blackboxrecordingstudio Livewire Recording Studio www.livewirestudios.za.net

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Morgeez Studios www.morgeez.com Soul Candi www.soulcandi.co.za Sting Recording Studios Phone: 011 786 8635 Streetbass CC Phone: 0826 000 002 Wounded Buffalo www.woundedbuffalo.com

Musikhaus W Heuer Cavendish Place, Claremont Phone:021 683 6050; 69-71 Bird Street Stellenbosch Phone: 021 887 2938 www.mheuer.co.za Allen & Fischer Pianos Old Wynberg Hotel, Corner of Main and Constantia Roads,Wynberg Phone: 021 797 7118 www.pianoworld.co.za

MUSIC OUTLETS CAPE TOWN

BK Percussion and Musical Instruments Rosbur Park, Neptune Street, Paarden Island Phone: 021 510 7770 www.bkpercussion.co.za

African Music Store (The) 134 Long St, Cape Town Phone: 021 426 0857 www.africanmusicstore.co.za

Brian Lisus Violins 22 Firfield Road, Plumstead Phone: 021 797 2861 www.lisusviolins.com

Hi-five www.hi-five.co.za

Guitar Centre Shop 10, Parklands Centre, Link Road, Parklands Phone:021 557 2157 www.guitarcentre.co.za

Loud on Long 43 Long St, City Bowl Phone: 021 422 3801 Mabu Vinyl www.mabuvinyl.co.za Marshall Music www.marshallmusic.co.za Musicraft 8 Humby Road, Ottery Phone:021 703 2902 www.musiccraft.co.za Musicfest SA Shop 34, Shoprite Park 262 Voortrekker Road, Parow Phone: 021 930 3330

Oosthavens Music Ltd 71 Plein Street, Alberton Phone:011 333 6690 www.oosthavensmusic.co.za Specialized Music Distributors Waterfall Crescent Phone: 011 804 1362 www.specializedmusic.co.za Streetbass CC 71 Plein Street, Alberton, 2001 Phone: 011 333 8325 That Other Music Shop (Pty) Ltd (TOMS) Zambezi Drive, Wedela Phone: 012 548 5912 www.toms.co.za

live musical performance Venues Listings of current & upcoming music performances (who, when, where, how much, who to contact):

JOHANNESBURG

www.southafrica.info

Marshall Music Peter Street, Randburg Phone: 011 462 4390 www.marshallmusic.co.za

www.capetownlive.com

Music & Merchandise Airport Industria Phone: 0861 687 426

www.jhblive.com www.joburg.co.za www.sa-venues.com/events

Rockin’ Alive Juta Street, Braamfontein Phone: 011 403 4105

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When a story ends – or 'falls into the ocean' as we say – it creates dreams. It has energy and direction. I hope that all my stories finish by presenting a lesson for society, but there is also great freedom in my way of seeing and treating things. I do the audience justice: they have the freedom to enter or not to enter into my stories. They are free to take their own path, to enter or to leave. In one word, 'liberty' is what characterizes what I am doing. Djibril Diop Mambéty Senegalese filmmaker

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OVERVIEW The South African film industry’s recognised history starts in 1895, when the Kinetophone - global pioneers in viewing and hearing sound motion pictures, arrived in the country. Other notable events around this period include the founding of Electric Theatre; the first sound advertisement films by African Film Productions in 1909; and the first colour film Daar doer in die bosveld in 1951. Government agenda hindered the industry’s advancement through the passing of the National Censorship Act (1931) and Entertainment Act (1931) and the establishment of institutions such as the South African Censor Board (1936) and the Publications Control Board (Censorship Board) (1963). SA History Online (SAHO) critically notes that “government and big business collaborated to keep SA cinema a cinema for whites only; of the 60 recognised films made between 1956 and 1962, most were in Afrikaans, four were bilingual and 13 were in English. Since 1962 Afrikaner capital had been a significant factor in the industry ... black and white audiences were treated differently; audiences were separated, watching different films in vastly differing surroundings.” But, signs of debunking the state norm were exemplified by the all-Black cast of Jim comes to Joburg/African Jim (1949); the first performance of 'Nkosi Sikelel iAfrica' in the film Zonk (1950); Dr Lionel Ngakane as assistant director on Cry the beloved country (1951), and locally produced films U’Deliwe (1974) and How Long (1975), directed by Simon Sabela and Gibson Kente respectively. Boesman en Lena (1973) and e’Lolipop (1975) represented the watershed in film being used as a state propaganda tool. From the 1980s, independent cinemas actively screened films such as Mapantsula (1988), that were not popular to the state. Television arrived in South African in 1976, with contemporary TV programming often critiqued for its lack of innovation and repeats of programmes aired with local productions of mediocre effort. In order to transverse this quagmire, Don Mattera suggests that local channels could “visit the various South African film archives in the country – including researching the private collections of astute film families such as the Schelsingers” whilst producers should review the experimental styles used in making films like Come Back Africa (1955), Zonk (1950), Jim comes to Joburg (1949) and in the series’ Lesilo and Mopheme. According to SAHO, television production accounts for more than a third of total film/ television revenue, with local-content quotas increasing the demand for programming. The South African film industry is paradoxical, offering foreign producers world-class film facilitation, logistics, talent and administration-management services but producing very few local profit-making films with specifically local stories and with local actors. Regardless, successful films such as Paljas (1997), Mr Bones (2001), Totsi (2005), Gangster’s Paradise: Jerusalema (2008), District 9 (2009) indicate that the industry is tackling its limitations. Also, supportive institutions such as the National Film and Video Foundation (1999) and film festivals like Encounters SA International Documentary Film Festival provide platforms for and encourage the progress of the local industry. There are also hopes that the Cape Town Film Studio, Africa’s first modern high-technology film complex, will make the industry more attractive for international production projects whilst improving the standard of locally produced films. * See references on page 27

FILM HANDBOOK Filmmaking (academically referred to as film production) is the process of making a film, from an initial story, idea, or commission. Filmmaking takes place in a vast range of economic, social, and political contexts, and using a variety of technologies and cinematic techniques. Creating a film involves an array of specialities or processes including some or all of the following: script or screenwriting, casting and acting, directing, producing, shooting, video editing, production design, visual effects, and animation. Some artists may focus on one of these areas, while others take responsibility for most areas. Taking greater responsibility and playing broader creative roles might mean one has more control over various aspects of the film and can cut back on budgets, but it is a lot of work and can increase film production time significantly.

TRAINING Training in film can be achieved academically through tertiary institutions or practically via interning and apprenticing. If you are considering to embark on the academic route, you would have to decide whether you want to attend an institution that provides a strong theoretical grounding or one that has a more practical approach to film studies. Film studies is an academic discipline that deals with various theoretical, historical, and critical approaches to film and cinema. Generally, film studies is less focused on film production than it is with engaging the narrative, artistic, cultural, economic, and political implications of the cinema. In film, your reputation and network play a significant role in your ability to find work; project or funding opportunities; and your ability to access skilled people who you can include in your creative team. Dylan Valley is a young Cape Town based documentary filmmaker who studied Film and Media (undergrad) and Film Theory and Practice (postgrad) at the University of Cape Town (UCT). He , suggests formal studies background as well as participating or attending film festivals as ways to build and maintain your reputation and network. After completing his undergraduate degree, Valley says he felt unprepared for working in the South African film environment. He then decided to intern at e-TV news to gain some practical experience, and he pursued an honours progamme. Nonetheless, Valley feels that attending university afforded him access to existing networks; allowed him the opportunity to explore the various aspects of film production; provided resources to make his first film and gave him a deeper, more critical understanding of film and cinema. For these reasons he is glad he made the decision to study. Besides South African tertiary institutions, there are two organisations to consider for practical know-how of the film industry; the Film Industry Learner Mentorship (FILM) and Big Fish School of Digital Filmmaking. 20

Further reading:

Turkish filmmaker Nuri Bilge Ceylan enlisted his close friends, relatives and family as actors and took on almost every technical role himself: the cinematography, sound design, production, editing, writing and direction in the production of what is sometimes referred to as his â&#x20AC;&#x2DC;provincial trilogyâ&#x20AC;&#x2122;: KASABA (The Small Town, 1997), MAYIS SIKINTISI (Clouds of May, 1999) and UZAK (Distant, 2002), Ceylan). www.nuribilgeceylan.com/

See page 73 for places

to study.

See list of Bursaries

available on page 75.

Further reading:

Want to know the kind of prospects available going the hands-on skills development route as well as keeping abreast with opportunities within the industry, visit FILM www.filmsa.co.za/ programmes.htm) and Big Fish: School of Digital Filmmaking (www.bigfish.org.za)

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MAKING YOUR FILM Most film production in the west, and as taught in South Africa, occurs in three stages:

Development – The idea of the film is developed. Pre-production –

Preparations are made for the shoot, cast and film crew are hired, locations are selected, and sets are built. This is also the stage in which the ideas for the film are explored and expanded upon, rights to books/plays are bought, etc.

Production – Raw elements for the finished film are recorded. Post-Production –

The film is edited; production sound (dialogue) is concurrently (but separately) edited; if a film has a score, music is composed, performed and recorded and sound effects are designed and recorded; and any other computer-graphic ‘visual’ effects are digitally added; all sound elements are mixed into stems and the stems mixed, then married to picture and the film is fully locked. Outside of Hollywood there are also the Nollywood and Bollywood film industries which can be used as references for production, promotion and distribution methods and approaches. There are many approaches to making your film. But keep in mind that the financing of the film has a large influencing factor in how you go about producing and distributing the film.

TOOLS FOR INDEPENDENT FILMMAKERS Since the introduction of DV technology, means of film-production have become much more affordable and accessible. Filmmakers can conceivably shoot and edit a film, create and edit the sound and music, and mix the final cut all on a home computer – in this case one can also learn through experimentation or trial and error. This technology is user friendly for those with no theoretical, practical or film experience at all but keen to learn the ‘how to’ . Software programmes are necessary tools in digital film production – they are used throughout the process of making a film – from compositing, imaging and animation, to capturing, and editing. The Dependent Films website has a ‘Tools and Utilities for Filmmakers’ page listing useful free software for a range of processes. Find software here: www.dependentfilms.net/files.html Wiki-how has a range of how-to guides on various aspects of movie making, from script writing to costuming, to editing and software advice. See selections of tutorials here: www.wikihow.com/Category:Making-Movies

Definition: DV technology is a format for the digital recording and playing back of digital video. Film or digital:

Digital movie production is now the format of choice for many independent movie producers. However, there are those who argue that shooting on film is a better way to preserve your work as digital formats outdate.

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FINANCING YOUR FILM Financing a film can be a daunting task, we touch on a few ways to approach it below. In an interview with Karen van Schalkwyk (Women of the Sun), Producer/Director Jihaan El Tahiri noted that the key to making great films is being able to work with people from all over the world. “I have worked with the BBC, ARTE, American broadcasters and various funding organizations like the European Media Fund. It is critical in this day and age to be able to obtain financing from various sources ... I think that South African filmmakers must become aware in this regard. If you want to do big films or feature documentaries you cannot do it just locally, you have to source other finance.”

Read the article here: www.womenofthesun.org. za/jihan_el_tahri.html

Applying to funding organisations There are many organisations which provide funding to the arts and specifically towards film. South African Government funding sources are known to be highly beaureaucratic and there is high competition to get these funds. You can apply for different aspects of the film from different people/organisations. General arts funding orgisations might have their own mandate to fund artistic practice in a particular focus or interest area; they also have specific geographical focus areas. It is possible that you can run the risk of having your film shaped by funders' interests. That is, you make your film based on what can be funded. However, your film can be repackaged into something different at a later stage.

See page 78 for list of South African film festivals.

Corporate sponsorship In this context, sponsorship would be a cash and/or in-kind fee paid towards a whole or aspect of a film in return for access to the exploitable commercial potential associated with that film. Unlike philanthropy, sponsorship is done with the expectation of a commercial return. There are smart ways to approach this without having your film looking like an advert. Aryan Kaganof directed the world’s first feature film shot on cellphone. It was shot for less than 1 million rand and in just twelve days. Sony Ericsson sponsored the film by providing the W900i cell phones used to shoot the film, as well as assisting with distribution.

Crowd funding IndiGoGo

In an interview with Film Threat, one of Indigogo’s co-founders Slava Rubin said the site is “all about allowing anybody to raise money for any idea.” The site’s structure enables users to create a page for their funding campaign, set up an 22

Crowd funding

(sometimes called crowd financing, crowd sourced capital, or street performer protocol) describes the collective cooperation, attention and trust by people who network and pool their money and other resources together, usually via the Internet, to support efforts initiated by other people or organisations. IndiGoGo is one such organisation that provides a crowd funding platform.

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account with PayPal, make a list of 'perks' for different levels of donation, and create a social media-based publicity effort. Users publicize the projects themselves through Facebook, Twitter and similar platforms. The site levies a 4% fee for successful campaigns, and 9% for campaigns that fail to reach their target amount. Unlike similar sites such as Kickstarter, IndiGoGo disburses the funds immediately. According to The Wall Street Journal, 10% of IndieGoGo projects raise their requested amount, while 40% of projects raise at least $500 (US). IndieGoGo is also used by already-funded projects to create publicity or find distributors. See www.en.wikipedia.org/wiki/IndieGoGo and www.indiGoGo.com

Is IndiGoGo right for you? www.chrisjonesblog.com/2011/02/is-indiegogo-right-for-you-a-guide-tocrowdfunding-part-1-podcast-with-indiegogo-founder-danae-ringe.html

How to run an Online campaign www.edition.cnn.com/2007/TECH/05/01/online.campaign/

NETWORKING Most projects in the film industry comprise of crews of freelancers, people are hired by word of mouth or through agents. Producers usually hire the crew they worked with on a previous job and if they arenâ&#x20AC;&#x2122;t available they ask an agent or someone else for a recommendation. Therefore, it is important to network and make yourself known to the right people. The best way to do this is to get in and impress whoever you work with. You have one chance to do this! Having a good CV and mastering the interview situation is crucial. Depending on what you do it may be a good idea to have a logo, business cards created or even brochures/portfolios printed. Showreels are essential for cameramen and sometimes production designers. Try and meet people already working in the industry to find out more about the position you are working in and about the work available. Excerpted from Guide to getting started in Film & TV, pg 11 (download for free at www.gautengfilm.org.za/images/stories/2010/Guide-to-getting-started-inFilm-and-TV.pdf).

PROMOTING, DISTRIBUTING & SELLING YOUR FILM

See: numerous tutorials on how to approach a job interview at www.wikihow. com/Category:InterviewSkills

Definition: a showreel is a 2 â&#x20AC;&#x201C; 4 minute long selection of your work to show what you are capable off, it is not an archive of your work. You can distribute it on DVD or on an online platform. Further reading:

advice on how to make a showreel: www.careerfaqs.com.au/ careers/resumes-and-coverletters-tips/putting-togetheryour-showreel/

It may be easier to shoot and edit a film these days, but you still have to distribute, market and sell it. Many independent filmmakers rely on film 23

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festivals to build hype about their film and to get it screened and sold for distribution. A filmmaker might also seek a distribution agent to handle the circulation and sales of the film for a percentage, or the producer would function in this capacity also. Outside of Hollywood there are also the Nollywood and Bollywood film industries which can be used as references for production, promotion and distribution methods and approaches.

Distribution Agents A film distributor is a company or individual responsible for releasing films to the public either theatrically or for home viewing (DVD, Video-On-Demand, Download, Television programmes through broadcast syndication etc.). A distributor may do this directly (if the distributor owns the theatres or film distribution networks) or through theatrical exhibitors and other sub-distributors. Details to consider when making any distribution agreement or plan include the commission for the agent; the reach of your film; the kind of license of a programme for your product and the duration of that particular license; the media platforms (e.g. TV, satellite TV, online transmission, DVD etc.) you want your work to be featured on; any secondary rights in the production, such as merchandising, soundtrack etc.; and lastly, the marketing plan informed by your considerations, to be undertaken by the agent.

Film FestivaLS

A film festival is an organised, extended presentation of films in movie theatres or screening venues, usually in a single locality. Sometimes there is a focus on a specific filmmaker or genre or subject matter, typically they are annual events. Before approaching a film festival to submit your film for screening, look at what kind of festival it is â&#x20AC;&#x201C; what kinds of works are they interested in showing? Participation in local film festivals is usually free. Bigger festivals can come with hefty application fees. According to Valley, a premier screening at renowned and bigger festivals yields bigger rewards due to more visibility for the filmmaker and the film. Furthermore this will most likely mean that smaller festivals will be more interested in screening the film after it has premiered at a more well-known festival.

Find lists of film festivals here: www.en.wikipedia.org/ wiki/List_of_film_festivals and here: www.indiewire. com/festivals?upcoming=1# Keep it short and sweet? Read what the

Gauteng Film Commission says about making a short film for film festivals at: www.gautengfilm.co.za/ index.php?option=com_co ntent&view=article&id=59 0:keeping-it-short-and-swe et&cati=75:december&Ite mid=107

IndiGoGoâ&#x20AC;&#x2122;s Slava Rubin gives a lecture on the difficulties of getting into a film festival. Watch the video here: www.imeo. com/4554922

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THE Internet Be sure that you have your portfolio online also. If you have your own website then include it there, but also put some of your work on platforms like vimeo and YouTube. Filmmakers don't necessarily sell work via these platforms, they are better used for marketing and promotion.

Further reading:

â&#x20AC;&#x153;The Internet as a Sales and Marketing Toolâ&#x20AC;? chapter on page 82.

Another growing and very accessible way to distribute your film is via Video on Demand (VOD) systems. VOD systems allow users to select and watch video content on demand via their personal computers amongst other options. Depending on the specificities of the service provider, VOD systems allow viewers to watch via live streaming on a pay-per-view basis or downloading to a DVR rented from the provider, or downloaded onto a personal computer, for viewing in the future. Some such websites include www.buskfilms.com and www.wally.tv/ Also see www.nofilmschool.com/2011/03/filmmaker-magazine-launches-vodcalendar/ and www.filmmakermagazine.com/vod/

EMPLOYMENT IN THE FILM & TV INDUSTRY A good resource for news, upcoming events and jobs available on the continent is http://www.filmcontact.com/africa A career in film and TV, also referred to as the digital media or the audiovisual industry, is multifaceted. There are generally six identified specialities wherein you can be employed: direction, art direction, animation, the production department, the unit and transport as well as technical department. Being versatile and having a broader range of skills is an asset as most job types in the industry are not mutually exclusive, and job opportunities are often offered on a part-time basis or project-to-project basis. Valley, offering advice about placement, believes that feature, short and independent filmmakers are better off based in Cape Town where the industry is more geared for this type of work, whereas for work on commercials and in television it is better to be based in Johannesburg.

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A great resource on how to get started in the Film & TV industry is the Gauteng Film Commission’s Guide to Getting Started. Read and download it here: www.gautengfilm.org.za/images/stories/2010/Guide-to-getting-startedin-Film-and-TV.pdf Find work listings at www.docfilmsa.blogspot.com (documentary filmmakers association); and seek call sheets from production houses and www.dependentfilms.net/files.html and www.thecallsheet.co.za.

Definition:

a call sheet in this context can be a call for entries to festivals or a call for hiring opportunities; read more at www.en.wikipedia. org/wiki/Daily_call_sheet

Commissioned work Doing commissioned work means producing detailed functions within a specified budget, mandate and timeframe. After seeing Dylan Valley’s work on Vimeo, an Al Jazeera producer contacted Valley and eventually commissioned him to produce an insert for Al Jazeera. Valley advises that because filmmaking is so time consuming, working over a long period of time means that income is largely accounted for when it comes in. If you are planning on taking commissioned work, try to have work lined up, so that you have income coming in when you have completed the previous job. If for example you have your own independant film, on completion you could sell the final product in various forms and so have other funds from sales. You could also sell your film to a broadcaster, who would in turn be licencencing the film at a cost for a limited period of time. Thereafter, another broadcaster can licence the same film for a limited period. Determining what fee to charge for freelance work should be informed by your experience, skills, qualifications, and in consideration of the type of client you are quoting for and the current market rate for this service. Also make use of your network – seek their advice and experience when drafting your quote. If you are wanting to have full time employment and work on your film ‘on the side’, it is important to be aware that film work can be very time consuming and intensive. Going this route could add months or even years to complete a project, depending on what it is.

Interning Interning is not always paid work, and if it is, it's more of a stipend than a market-related wage. It is also usually a short to medium term engagement, or project specific. Interning however can ‘pay’ in other ways, that is by giving you an opportunity to build your network; to engage with different departments or specialities in film or TV and become familiar with what you like and don't like. It is also an opportunity to practice and develop your skills. 26

See: Screen Africa’s Regulations and Rates 2010, for guidelines on what to charge or pay www. screenafrica.com/download_ files/guides/RegulationsRates-2010.pdf ) See: page 86 & 89

for help with creating a quote.

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Working for self Working for yourself requires you to be versatile and to have flexibility of time or very good time management, to enable you to complete paid work for sustenance while also pursuing your own creative agenda. If you can master your time planning, you might be able to overlap your project and work schedule or work on a couple of projects simultaneously. This way you could have multiple income streams. For example, you may steadily develop your independent film for own release, also take on commissioned work for broadcasters, corporates and organisations, and sell your service as a cameraman or scriptwriter. When working for yourself, creating relationships, building trust and networking are essential. It also helps to be versatile.

*OVERVIEW References: Mattera, D 2010, Second look at South African Television, National Film and Video Foundation. <nfvf.co.za/weblog/2010-06-24/second-look-south-african-television> Masilela, N 2006, ‘Come Back Africa and South African Film History’ Jump Cut: A review of contemporary media, USA. <www.ejumpcut.org/archive/onlinessays/JC36folder/ComeBackAfrica. html> South African History Online www.sahistory.org.za/arts-and-culture/timeline-history-south-african-filmindustry-1895-2003 www.sahistory.org.za/why-did-so-few-black-south-africans-make-films1990s www.sahistory.org.za/performing-arts/south-african-film Wicht, D ‘Why have so many major South African films featured non South Africans in the starring roles?’ South African History Online. <www.sahistory.org.za/what-are-challenges-face-south-african-filmindustry>

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IN CONVERSATION WITH ARYAN KAGANOF Caridad Botella Lorenzo interviews Aryan Kaganof about 'SMS Sugar Man' CB: You moved to the Netherlands to escape apartheid in South Africa. Could you tell me why you went back? AK: Actually I moved away from South Africa in 1983 to avoid doing military service in the apartheid army. I returned to South Africa in 1999 in order to meet my biological father who had a non-Hodgkin lymphoma and therefore not long to live. I lived with him for a year and a half and when he passed away I changed my name in order to honour my patrilineal bloodline.

CB: Earlier experimental filmmakers such as Jonas Mekas, Maya Deren and San Brakhage, or movements such as Nouvelle Vague, are mentioned when defining the archaeology of mobile phone made films. Using non-standard gauge and cameras is nothing new after all. What is for you the novelty or revolution of this medium compared to the past? AK: Using a phone camera is not loaded with the pretensions of 'filmmaking'. It does not have the baggage of 'film history'. One works intuitively with the body as a much more intrinsic part of the framing than with film cameras which centralize themselves in the framing process, to which the body of the person controlling the camera is in fact exterior. The fluid and intuitive way of working with framing creates an entirely cyborgian aesthetic that draws attention to itself, if one is approaching cell phone films from a classical film-making aesthetic. I try not to do so and approach cell phone film making as an activity in itself, with its own intrinsic aesthetic that I am researching and discovering whilst filming.

CB: In the article â&#x20AC;&#x153;De digitale filmrevolutie.

Allemaal Scheppersâ&#x20AC;? published in Vrij Nederland, you are quoted saying that your work would have been impossible without the digital revolution. Why has digital suited your purpose so well?

AK: Primarily because it has freed me from the necessity of working with so-called 'producers' who are the carrion of the film industry.

CB: You made 'SMS Sugar Man' in 2006. Would you use this medium again in the future? AK: Actually we shot in December 2005, I edited in 2006, waged war with the so-called 'producers' for all of 2007 and finally won my film from their dirty clutches and released it in 2008. Subsequent to 'SMS Sugar Man' I made a documentary called 'Sally in Winterland: The Making of Dick Tuinder' that I shot on a Nokia N95 phone camera. This 52-minute long documentary had its world premiere in Groningen on 17 April 2009 during the Viva La Focus Mobile Phone Film Festival.

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CB:

You have pointed out that the real theme of 'SMS Sugar Man' is how the Black Economic Empowerment (BEE) programme actually works against black people’s freedom in South Africa, and that this hasn’t been picked up by the critics. Do you think that novelty of the medium casts a shadow on the real content of the film?

AK: You are absolutely correct.

The technology overwhelms the content to an extent that is quite baffling to me. But on the other hand I always foreground the technology in my interviews so maybe it is my fault.

CB:

'SMS Sugar Man' was rejected by the Venice Film Festival, which is why you decided to distribute the film through your own blog or mobile telephony, making the film available to a wider audience. Did you experience this rejection as something positive after all? (Perhaps it wasn’t negative to begin with...)

AK: Rejection is always positive.

It makes you try harder!

CB: This wide availability contrasts with the fact that your previous films are quite hard to find in DV format in art house rental shops (in Amsterdam). Will you be distributing more films through the same means? AK: I would like to sell more DVDs so please demand from the art house rental shops that they get in touch with me and buy my DVDs for rental! Yay!

CB: The film was screened at the Africa on Screen Film Festival in Johannesburg only this past summer. Why did it take so long to happen? AK: Because I was involved in a long and protracted legal battle with the so-called 'producers' over the ownership of the film.

CB:

In the past years festivals dedicated to phone camera films have flourished, beyond the hype. What is the most relevant contribution of the medium for the future of filmmaking?

AK: For me it is that I always have a camera on board wherever I go, and therefore I’m always integrating mobile phone footage in all of my new projects. This happened to great effect in 'The Uprising of Hangberg', a documentary film I made this year with Dylan Valley. We received a lot of mobile phone footage from resident of Hangberg (Cape Town) who were brutalized and abused by police. Ordinary people filmed these human rights violations and I could use the footage in the documentary. It’s a wonderful way for ordinary people to have power to fight back against repressive police, and also to claim space for themselves, telling their own stories and not allowing the mainstream mass media to have total control about how the events of our lives are represented in media.

See this and other interviews, articles and writings on and by Kaganof, visit his Kagablog: www.kaganof.com/kagablog/2011/02/11/caridad-botella-lorenzo-interviews-aryan-kaganof-about-sms-sugar-man/

Also read THE HYENA’S LAST LAUGH: A conversation with Djibril Diop Mambety, by N. Frank Ukadike, from TRANSITION 78 http://newsreel.org/articles/mambety.htm

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CONTRIBUTORS ARYAN KAGANOF

Aryan Kaganof is a novelist, poet, fine artist and filmmaker. He studied at the Netherlands Film & Television Academy (1990-1994) in Amsterdam where he majored in film screenwriting and direction. He made his first feature film while still in the second year of the academy. The film, 'Kyodai Makes The Big Time', caused a commotion in Europe when it won the Golden Calf for Best Film (the Dutch Oscar equivalent) and the Jozef Von Sternberg Prize for Most Innovative Narrative Structure, Mannheim International Film Festival (1992). Many prize-winning features, shorts and documentaries followed. In 1996 he made the world’s first 35mm feature film shot on mini DV tape – 'Naar De Klote!! (Wasted!)'. He also made the first Japanese feature film shot on mini DV tape and blown up to 35mm – 'Shabondama Elegy', later released in the USA as 'Tokyo Elegy', it was awarded the Special Jury Prize Golden Calf Award at the Netherlands Film Festival (1999). A man of firsts, he made the first feature film shot on Sony Ericsson W900i cell phones - 'SMS Sugar Man'. His other work includes 'Legendary Syd Kitchen' (2011) and collaborative projects with Dylan Valley 'The Uprising Of Hangberg' (2010). As a dramaturg, Kaganof has most recently been part of the team that produced 'Afrikaaps' (2010). Kaganof’s awards include First Prize Best Documentary, Africa & Islands Festival, Reunion, 2003 and First Prize Best Video Made in Africa, 12th African Film Festival, Milan, 2002 for 'Western' 4.33 as well as First prize, Best Film, Madrid International Experimental Film Festival 1994 for 'Ten Monologues From The Lives Of The Serial Killers'.

DYLAN VALLEY Dylan Valley is a South African filmmaker, born and raised in Cape Town. He makes films about music, street culture, heritage and social issues in Cape Town. In 2009, he was included in the Mail & Guardian’s list of 300 ‘Young South Africans you have to take to lunch’. Hip-Hop music led Valley to incorporate this style into his passion for documentary filmmaking. Valley graduated from the University of Cape Town with a degree in Film and Media and postgraduate in Film Theory and Practice. During this time he interned at e-TV for 2 months. In 2005, as his final university project, he made a 10 minutes documentary about the history of the Cape Capoeira (Brazilian martial arts) scene. In 2006 for his final thesis, Valley co-produced ‘Lost Prophets’ with his co-producer and collaborator Sean Drummond. The documentary has been screened at various film festivals in South Africa, including Encounters Film Festival. In 2007, he created with City Varsity graduates the production company Be Phat Motel. At this time, he worked at Headwrap as a researcher and trainee director where he later directed some of the famous episodes from the series including ‘Hip Hopera’ and ‘Awareness thru Colours’. With Be Phat Motel Company, Valley developed a feature length documentary, called ‘Afrikaaps’ which explores the history of Afrikaans using Hip Hop, humour and personal perspective. The documentary was released in 2010. Valley is now working on a documentary about a gang member who becomes a gospel rapper, titled ‘Incarcerated Knowledge’. Valley has also started work on a theatre and multimedia production on the history of Afrikaans, told through hip-hop. Other productions by Valley include ‘Wild of Skuld’ and ‘Gatsby’.

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RESOURCES ORGANISATIONS: REGULATORS

South African Guild of Animators Northcliff 2115 Johannesburg Phone: 011 787 7300

Broadcasting Complaints Commission of SA www.bbcsa.co.za

South African Guild of Editors (SAGE) Melville, 2109, Johannesburg Phone: 011 726 2675

Independent Broadcasting Authority (IBA) www.iba.org.za

South African Scriptwriter’s Association Aukland Park, 2005, Johannesburg E-mail: saswa@global.co.za Phone: 011 678 3838

National Film & Video Foundation www.nfvf.co.za

DISTRIBUTORS STER KINEKOR www.sterkinekor.com

UIP Benmore, 2010 Phone: 011 883 3710 Videovision Entertainment www.videovision.co.za

COLLECTIVES

Congress of South African Writers Association (COSAW) Fordsburg, Johannesburg, 2033 Phone: 011 838 2893 National Television and Video Association (NATVA) Phone: 011 789 6506 www.ntva.org.za Performing Arts Worker’s Equity (PAWE) Phone: 011 403 6234 E-mail: pawe@icon.co.za South African Art Department Guild 13 Percy Street, Yeoville, 2158 Johannesburg, Phone: 011 648 2270

SA Society of Cinematographers (SASC) Phone: 011 788 0802 E-mail: sasc@mweb.co.za Indie Films Phone: 021 462 1665 E-mail: centrald@gem.co.za European Documentary Network www.edn.dk Phone: +45 33 13 1122 Southern African Communication for Development (SACOD) www.sacod.org.za

FURTHER INFO

(Books, audiovisual resources and links to other resource lists): African Film Library www.africanfilmlibrary.com Beck, RM 2004 African media cultures: transdisciplinary perspectives, Köppe. Department of Arts and Culture, Science and Technology 1998,

The South African Film and Television Industry Report: Cultural Industry Growth Strategy, South Africa. www.info.gov.za/view/ DownloadFileAction?id=70492 Film Resource Unit www.fru.co.za iTunes University www.apple.com/education/itunes-u National Film & Video Foundation: Publications nfvf.co.za/publications Recommended Reading nfvf.co.za/screenwriting/recommended-reading SA Film www.safilm.org.za/film/advice.html www.safilm.org.za/film/practical.html www.safilm.org.za/reading/books.html South African History Online, South African Film. www.sahistory.org.za/performing-arts/ south-african-film South African History Online, Timeline: A history of the South African film industry 1895-2003. www.sahistory.org.za/arts-andculture/timeline-history-south-africanfilm-industry-1895-2003 The Callsheet www.thecallsheet.co.za The Filmmakers guide to South Africa www.filmmakersguide.co.za Cape Film Commision www.capefilmcommision.co.za

PERFORMING ARTS

Dance is movement that speaks a universal language without uttering a word. The best instrument is your body, it can create a picture without a pen. Mamela Nyamza Dancer and Educationalist

PERFORMING ARTS

OVERVIEW Performing Arts is expressive communication witnessing, representing and imagining the world using the body, face and presence as a medium. In South Africa, performing arts and dance comprise about 19% of the creative industries (CreateSA, 2003). The performing arts sector has a rich and vibrant tradition in South Africa. It was an outlet for social commentary and protest under apartheid and continues to reflect issues of relevance to a democratic South Africa. Alongside the social commentary aspect of the sector, there are a number of types of activities that are primarily focused on entertainment, as well as those that combine the two. The diversity of activities is mirrored by the types of organisations and individuals within the sector. There are a number of large government subsidised theatres, a growing number of privately owned theatres, a diverse range of community groups, more formally organised dance troupes and production companies and a large number of individuals work on a contractual basis. Historically, professional dance in South Africa was the privilege of a white minority who prioritised Western styles. Consequently, other forms of dancing – grouped as ‘traditional’ or ‘native’- were considered infantile forms of dance and dismissed. The advent of the ‘changing wind’ in the 1970s paved the way for the fusing of classical choreography with traditional styles. For instance the founding of Cape Town’s Jazzart Dance Theatre, Johannesburg’s Free Flight Company and Moving Into Dance (MIDM)- Mophatong, the Soweto Dance Company, Napac and Pact Dance Companies and Fuba (Federated Union of Black Artists), represented an evolution in contemporary South Africa dance development both administratively and artistically. Contemporary work ranges from normal preconceptions of movement and performance art or performance theatre, to the completely unconventional whilst afrofusion is definable as an eclectic dance that fuses what is recognised as formal dance training or classical forms of movement with what is recognised as traditional e.g. Afrikaans sokkie, Xhosa Amakwenkwe and Umteyo and Sesotho Mohobelo to jive, gumboot dance, pantsula etc. The success locally and internationally of home grown productions such as Richard Loring’s ‘African Footpint’ and ‘Umoja’ by Richard Loring and Todd Twala and Thembi Nyandeni respectively is testament to the growth and inclusivity of South Africa dance. Pioneering artists such as Mamela Nyamza, Sylvia Glasser, Tossie van Tonder, Carly Dibokwane, Adele Blank, Robyn Orlin, Moeketsi Koena, and Gregory Vuyani Maqoma created and continue to generate a new vocabulary of dance, working with their own companies, directing as well as inspiring and nurturing local talent. * References on page 39

PERFORMING ARTS HANDBOOK TRAINING Studying the Performing Arts can give one theoretical grounding, but according to University of Cape Town Drama Lecturer, Mwenya Kabwe, going through a formal tertiary education system gives you access to existing networks – something the performing arts scene is very reliant on. Kabwe: “getting work can be about who you know and who sees you. A performer with formal training gains credibility in these networks - whether real or not – giving him or her a ‘leg-up’ when entering the work field.” Dancer and choreographer Mamela Nyamza says “sometimes CV’s are asked for when applying for funding, or when applying for work as a teacher in the discipline, or any invitation. You are always asked about your skills. My education helped me as currency in the field to be awarded a fellowship at the University of Cape Town next year, so yes, studying is very important sometimes. Although sometimes there are other ways of gaining that knowledge, but the education you have directs which field you enter for example academic or artistic.” “Being unique, original, authentic and some training on what you are expressing on stage can make a huge difference to your work as you are deconstructing what you know, more than just being on stage. People become curious about your work and you start to have followers.”

PRACTICE Practice makes perfect? But how does one practice the performing arts? Kabwe suggests initially taking every role which comes your way – it will increase your visibility if it’s well paid commercial work, it will keep you afloat financially, and it will give you the opportunity to work with new people, and in new roles. These possibilities are all forms of practice. Actress Quanita Adams likens being an actor to being an athlete: “Even though we are athletes of sorts, we don’t have a track to run around, or a beam to balance on, or a mat to tumble on or a court to practise on. I do think that as actors we should be treating our bodies well, especially our voices. I will be the first person to admit it's only when I am engaged in theatre that I go through vocal warm-ups. Really I should be doing that sort of thing every day. I think you get better while you work. You learn things, shortcuts, tricks, techniques on how to improve your own craft, how to get what is required out of yourself - faster, more intensely, more intently. I am also always watching people, listening, putting different characters into my brain and body so I have an arsenal of characters that I can draw from when I am working on a new part. Also learning lines is important. I think just always learn, always pay attention. That’s how you practise.” 34

See page 73 for list of

dance specific training institutions.

PERFORMING ARTS

When Nyzama is developing new work, she puts a lot of emphasis initially on research: “Yes, dancers do research. I do that a lot when going into new work, especially as someone who deals with social issues. I must research what I’m about to talk about on stage, as we communicate with our bodies more than we speak, but it’s still the same as talking. We write the stories with our bodies and souls, we speak on stage and in return we move the audience. Now at 35 I don’t move the same way I used to when I was younger. I move differently now and so look for new ways of moving, by doing that I challenge myself as a dancer and performer.”

WORK A performance artist might be invited or commissioned to perform; be employed by a company on a short or long term basis; or create his or her own performances. Employment can come via various Dance and Theatre companies however, very few companies have all their employees as full time personnel. Most often this applies to dance companies and very seldom theatre companies.

PERFORMING ARTS COMPANIES There are generally 3 types of performing arts companies: An Independent producer is an individual who puts shows together and employs performers on an ad hoc basis. A Company will have some full time employees but mostly ad hoc performers, that is they will employ as and when roles are needed, such as The Magnet Theatre, Cape Town. A full-time company will typically have full-time employed performers such as The South African Ballet Theatre.

COMMISSIONED WORK & EMPLOYMENT Nyamza says “as a self-employed artist I rely a lot on commissions and invitations internationally and nationally. Sometimes I create my own platform where I invite people to a new show and do it from nothing. There is no commission but the results are usually huge and fulfilling.” You have to be seen and known to be commissioned. Kabwe suggests that when starting out – take all work that comes your way. You can grow your experience, get yourself seen, and if it’s commercial work, earn money for it too. Here are some things to do to increase your commissioned work:

For updated listings

of work opportunities available visit www.pansa. co.za/opportunities

PERFORMING ARTS

Get listed with a casting agency: Your profile will be readily accessible to potential clients approaching the agency. Casting agencies are agencies that are searching for talented people in different fields like singing, acting, modeling, dancing and others for different kinds of projects including TV, advertising and film. Get the audition right: There are numerous tips, guides and step-by-step approaches on how to approach a range of audition types on www.wikihow. com/Category:Auditioning Remember when you go to take a few copies of your CV and headshots with you.

CREATING WORK Regarding freelance work, Nyamza says “most dancers do freelance work due to lack of finances and funding which is a sad case when it comes to individuals like myself, this is why we perform more internationally than at home. I used to do music videos, modelling, all of that, but now as an established artist it’s hard to work for others as I am also an artist doing my own work, unless it’s a collaboration with another artist of my calibre.” In Cape Town there are only a handful of companies which produce regularly, meaning freelance work opportunities can be scarce and competitive. Artists, according to Mwenya, should constantly be considering where they would like to perform, the audience they would like to reach and who they would like to work with so as to avoid being in a vulnerable position. Kabwe maintains that theatre is a small industry and as such it is important to know how to make and market your own work so that you are not entirely dependent on agents to find work for you.

See page 81 for list of

casting agencies.

PERFORMING ARTS

THE SECTOR: PROS & CONS According to Quanita Adams: “One needs muscle to be an actor, and different formats: TV, movie, commercial, or theatre, industrial theatre, corporate theatre, musical theatre etc, these need different muscles. I’m glad my academic career has had the trajectory it’s had. My professional career is still on a learning curve. That’s how it should be. I think so anyway." Based on her experience, Adams sums up the pros and cons of working in various Performing Arts sectors:

STAGE

Pros "Theatre is live and immediate and completely visceral. There are no second chances. It’s about precisely why we do what we do. The magic. Hard to describe. One needs to be doing many plays a year for it to make sense from a financial point of view. Having said that, if you get it right, you can have nice breaks in between. It requires you to have a strong handle on your finances. If you’re lucky, as I have been, you get to travel all over the world! That’s an awesome plus."

Cons "Not great money. Exhausting. Very few cons."

Pros "Nice money, mostly. High visibility, great for profile building. If you want to be a celebrity, then that’s the way to go. People will stop you in the street blah di blah. Reasonable amount of financial security if you land a nice contract on a soapie or a daily drama."

Cons "You get stuck in contracts and you are often not available to do other work, because you are not available. People stop you in the street blah di blah."

FILM

Pros "It's awesome! I love film! I love set! I love it all! The walky talkies, the angry production people (well maybe not them so much) the crew, other actors, even the stupid early morning call times. Sense of family almost. Opportunity to make nice money."

Cons "All of the above, if it’s a kak project. There’s also commercials, which are ideal, you can stand to make very good money over a short space of time and it won’t tie up your time for too long."

PERFORMING ARTS

in conversation with Quanita Adams On learning From a very early age, I always knew that I would somehow be involved in the arts. Initially, while I enjoyed performance, attended drama classes, performed in a choir and participated in school plays, I was always determined to be a visual artist and live off my work and die poor. After school I enrolled at Michaelis School of Fine Art at the University of Cape Town, but after two years of being unhappy and frustrated at the institution, I left. I made a small migration, that is, to the building across the drive, to the Drama School. My motivation at that point was to finish a flippen degree, and I wasn’t leaving that campus without some form of academic credibility! So I chose the BA degree which focuses on theory and I ended up doing my honours with teaching and directing as my majors. I feel like, in a weird way, I don’t have the performer training, certainly not from a school point of view. I did the BA, which really is more theory based, though we did have a practical component to our course, once a week. Having said that, I have a kind of perspective on training and I feel it is important to understand what it takes to be a performer. I learnt it through experienced situations, from some of the best practitioners in this country. There are so many young people who leave drama school thinking they will simply land big gigs by virtue of the fact that they have a piece of paper that says they are performers; or can ‘y-buzz’ the heck out of any vocal warmup. That’s simply not the case. It’s about understanding one's place at any given time in the industry and having the grace to know that one is always in a position to learn. I feel like I know the theory enough to know which bits to discard and which bits to retain and which bits need to be revisited and reworked. It requires a kind of fitness and agility, and that can be honed over time, time spent working. It was while I was doing this post-grad degree that I was given the opportunity to perform in my first professional production. Lara Bye directed me in an ensemble cast in a production of Ntozake Shange’s 'For Colored Girls…' It was exhilarating. Felt right. We won an award. On opening night, I stared down at my bare feet on the stage, on standby, waiting to go onto stage. My toes were on the stage of the Baxter. Suddenly, my childhood came flooding back, smells, sounds, sensory flashbacks of shouting at Goldilocks in whatever the kiddie production was being staged at the Baxter. I was now on the other side, on stage blinded by the lights, not being able to see beyond the second row. I heard laughter, sighs, and also someone stifle a sob – and it was me eliciting that response. I have travelled all over the world in my career, and I want to make people feel. Something. Anything. That’s why I do this. Still.

PERFORMING ARTS

On Finances and Challenges What challenges? Access to spaces, there are many theatre spaces, particularly in Joburg that need to be re-energised, and used for exciting and dynamic, or even mundane theatre storytelling dance art music collaborative projects. And also, funding, that’s a challenge. Early in my career I had an accelerated experience. I was, and still am incredibly blessed to not have had too many challenges early on. I was lucky to work with amazing directors, producers, and other actors on stage, as well as on the small and big screen. I can’t really complain without sounding disingenuous. Personally, I sometimes feel pigeonholed, particularly for television, which sometimes feels like a very racialised space. There are clear and suffocatingly small boxes that one needs to squeeze into. Fact is, I’m not tall or thin or the kind of pretty that people want to see on television. So sometimes it’s hard trying to convince people that I am enough. Also, at the moment I’m in this weird transition space age-wise, where I am not young enough to be a believable young type, but I don’t look old enough to be the mommy with 2.5 kids. But agh, that’s my own issue. I don’t really rate my work financially. Some of the most awesome jobs I’ve done have been for next to nothing, if not free. I joke that I will work with great people on a great project for the princely sum of a Nando’s quarterchicken-meal. True story. I have loved working on 'At Her Feet'. It has won me awards, acclaim, the respect of my peers, garnered me a loyal audience and following and seen me travel abroad, including to New York – twice. It really shaped my idea of the kind of performer I want to be – to be able to have a transformative effect on my audience with my storytelling, shift people’s ideas about the world they live in, if only for the time they spend with me in the theatre. 'Truth In Translation', also saw me travelling the world and focused specifically on the importance of storytelling as part of a kind of restorative justice. That galvanised my idea of the kind of actor that I want to be in the world. Though, again, having said that, everything I have done has been memorable and valuable, even the duds! I have worked with people that have been dangerous, so I learnt never to work with them again. I did a music tribute show as part of a girl-band called Las Motowns which took me to Mallorca where I lived and performed under the craziest conditions. But I still got to have a Mediterranean summer! I did a show that burnt Artscape’s main theatre down. Well, if nothing else they make for great anecdotes around a braai.

On Support

Congrats to everyone out there creating work, in what can be very difficult circumstances. We need to continue to mobilise support for our union, SAGA. I am a member – I have to be. It’s the closest I will come to having my interests protected as an actor. We don’t fall under labour, so historically it’s been hard to legally protect our interests or have any kind of credible intervention when dealing with issues of bad practice. Now we have joined a larger body that represents unions for professionals so at least we have some weight when dealing with issues that affect us. We need to have set standards in our industry so we can no longer be taken advantage of, as actors, but also anyone involved in this industry. We also need to stop singing the same one note samba and get proactive and create work, create networks, create opportunities with and for each other. Be supportive. * Constructed from an interview with Quanita Adams, conducted by Rucera Seethal, November 2011.

PERFORMING ARTS

CONTRIBUTORS Mamela Nyamza Award-winning dancer, community activist and educationalist Nyamza’s accolades include being the primary recipient of the 2011 Standard Bank Young Artist Award in Dance and a 2012 Donald Gordon Creative Fellow. She has performed in major international musicals including 'The Lion King', 'We Will Rock' and 'African Footprints'; done choreography work for 'So You Think You Can Dance' (2008); has represented South Africa at 'The Super Stars of Dance', Los Angeles (2008); directed dance at Sadlers Wells (London) in 2009; and participated in international events such as 2008 Impulstanz at the Vienna International Dance Festival. Nyamza’s commissioned clients include Dance Umbrella and Baxter Theatre, the National Arts Council, Goethe-Institut (JHB), British Council, Standard Bank and the National Arts Fund as well as New Dance Festival for which she choreographed 'Mendi And Khuteni', 'i-Dolls Hatch', 'i-Dolls', 'Abangxolayo', 'Shift', 'Isingqala & Amafongkong' and 'Hatched' respectively. She has also choreographed works for Likwezi Dance, Dance for All, Cape Junior Ballet, Cape Dance Company, Jikeleza Dance School, ZAMA Dance School, Jazzart Dance Company and Free Flight Dance Company. Born in Gugulethu, Cape Town, Nyamza received early training at ZAMA Dance School (where she later became vice principle), and has a National Diploma in Ballet from the Tshwane University of Technology and further training from the ALVIN Ailey American Dance center and Dance Webber (Vienna). Her work deals with contemporary South African political and societal issues which explore questions such as gender and sexuality.

MWENYA KABWE Mwenya Kabwe is a Zambian born theatre-maker currently living and working in Cape Town, with other home bases in New York and Lusaka. She is a graduate from the University of Cape Town’s Masters programme in Theatre and Performance, and she is currently a lecturer and course coordinator in the Drama Department. Kabwe is a recipient of the Klein Karoo Nasionale Kunstefees (KKNK) 2008 award for Best Upcoming Professional Artist and the 2008 Fleur du Cap award for Best Actress for her performance as Alma in 'Yellowman'. Kabwe is also one of the seven Spier Contemporary 2007 winners for a collaborative performance work titled unyawo alunampumlo and was on the Spier Contemporary 2010 selection and curatorial team. Kabwe’s original performance work has been showcased at the Drill Hall in Johannesburg ('Please Do Not Leave Your Baggage Unattended', 2007), Out the Box Festival ('For Nomads Who Have Considered Settling When The Travel Is Enuf', 2007 and '27 Windows, 4 Doors and 2 Taps', 2010) and the UNESCO Chair International Festival of Theatre Schools, Barcelona Spain ('Afrocartography: Traces of Places and all points in between', 2008). Kabwe is a co-founder of manje-manje projects, an arts collective that was launched with an exhibition at the Association for Visual Arts (AVA) Gallery in Cape Town, titled 'Scratching The Surface Vol 1'. Kabwe is also a member of The Bonfire Theatre Company, Phakma Projects and UNIMA South Africa. Besides writing original poetic texts for her own performance work, Kabwe’s publications include an article in the South African Theatre Journal (SATJ) Vol. 21, (2007) titled ‘Transgressing Boundaries: Making Theatre from an Afropolitan Perspective’; as well as ‘Untethered in a Performance of Afrohybrid’ (April 2008), published in the catalogue for an exhibition titled FLOW at The Studio Museum in Harlem, New York. Kabwe’s writing has also featured in Rootz Africa Magazine Volume 21, 2008 with an article titled ‘Afrophobia Exposed’ 40

PERFORMING ARTS

QUANITA ADAMS

After graduating from drama school at the University of Cape Town (UCT), Quanita performed in her first professional production. It was a ‘Boney M’ tribute show, directed by Heinrich Reisenhoffer, and was staged at On Broadway. An accomplished vocalist, she went on to sing in a Mowtown tribute show in Mallorca in 2000. The following year, she returned to Cape Town and UCT where she completed her drama honours. In the same year she performed in Lara Bye’s production of ‘For Colored Girls…’ for which the cast won a Fleur de Cap award. In the same year she performed in a one woman show called ‘At Her Feet’, written and directed by then master’s student Nadia Davids. The highly acclaimed show went on to run for ten years and garnered both writer/director and actor Fleur de Caps. It toured extensively, including a stint in Holland, and twice in New York. In 2010 it was performed in London, as part of the Book Fair. Other theatre credits include ‘Wit’, ‘Twaalfde Nag’, ‘Valley Song’, and ‘Truth In Translation’, which opened in Rwanda, and returned from a tour, in 2007, including The Edinburgh Festival, where it won a Fringe First Award, then various states in America, Sweden and finally Northern Ireland. In 2008 the production toured the Balkans, in various towns and cities in Bosnia-Herzigovina, Serbia, Cossovo, and Croatia. In late 2007, early 2008 she was once again directed by Reisenhofer, this time in an Afrikaans theatre production called ‘Kroes’. In 2008, in both Grahamstown and Cape Town she performed in Nadia Davids’ new play, called ‘Cissie’, playing four different parts, for which she has subsequently received a Fleur du Cap award for best supporting actress. Film credits include the lead, Sannie Grootboom, in ‘Forgiveness’, for which she was awarded the inaugural SAFTA, Golden Horn for Best Actress In A Feature Film in 2006. She has also performed in 'Cape Of Good Hope', which won the audience choice award at the Toronto Film Festival, the short film ‘Ongeriewe’, which made the official selection, and was a finalist at Cannes 2006. This year, she was seen in Tim Greene’s ‘Skeem’. Her television appearances include being a presenter for Vuyani Mzansi; co-hosting SABC2 lifestyle programme Pasella, KyKnet’s Orion and Villa Rosa; Intersexions; American hospital drama series, E.R.; BBC’s popular drama series, Holby City. In 2006, she made her directorial debut, when she directed Jenny Stead and Anton Luitingh in a Simon and Garfunkel tribute show called ‘Old Friends’, at On Broadway. Adams is also the voice of Pearl, in the popular SAFM radio drama Radio Vuka.

PERFORMING ARTS

RESOURCES ORGANISATIONS Cape Town City Ballet www.capetowncityballet.org.za Dramatic, Artistic and Literary Rights Organisation (DALRO) www.dalro.co.za National Arts Council (NAC) www.nac.org.za National Association of Model Agencies (NAMA) Contact: Paola de Vito, Phone: 021 433 0300 www.nama.co.za Performing Arts Network of South Africa (PANSA) www.pansa.co.za

FURTHER INFO

(Books, audiovisual resources, and links to other resource lists): African Arts Institute and the Arterial Network Publications: • Arts and culture information directory ISBN # 978-0-9869896-8-1 • Arts advocacy & networking toolkit ISBN # 978-0-9869896-3-6 • Arts fundraising toolkit ISBN# 978-0-9869896-4-3 • Project Management Toolkit for Arts and Culture ISBN# 978-09869900-2-1 www.africanartsinstitute.org.za www.arterialnetwork.org

Personal Managers Association www.pmatalent.co.za

ART21 Video Library www.video.pbs.org/program/art-21/ www.art21.org/teach

South African Association of Stills Producers (SAASP) www.saasp.co.za

ArtBabble www.artbabble.org/channel/Performance_Art

South African Community Theatre Association www.sancta.org.za

Battenfield, J 2009, The artist’s guide: Making a living doing what you love, Da Capo Press

Technical Production Services Association (TPSA) www.tpsa.co.za

Artscape Resource Centre www.artscape.co.za/resource-centre

Theatre Managements of South Africa (TMSA) www.tmsa.org.za

Freedthinkers 2005, Developing audiences for Joburg Live Arts, City of Johannesburg. Gauteng Provincial Government, Gauteng’s Creative Industries: The performing arts sector http://www.sacr.gpg.gov.za/Documents/Creative%20Ind/Performing%20Arts%20Sector.pdf

iTunes University www.apple.com/education/itunes-u/ Joburg News 2007, ‘Joburg is SA’s Culture Capital’, South Africa. www.joburgnews.co.za/2007/aug/ aug7_theatres.stm Lebethe, A. 2003, Promoting the Culture Sector through Job Creation and Small Enterprise Development in SADC Countries: Performing Arts and Dance, ILO Working Paper 52, Geneva. Multi-media List video.pbs.org/subject/957383343 South Africa.info 2008, Afrofusion: dance in South Africa. www.southafrica.info/ess_info/ sa_glance/culture/dance.htm South African Theatre Journal (SATJ) Vol. 21, (2007), Transgressing Boundaries: Making Theatre from an Afropolitan Perspective, Performing Arts Network of South Africa (PANSA): Document Templates www.pansa.co.za/groundwork/ document-templates Perfoming Arts Network of South Africa (PANSA) 2005, Towards an understanding of the South African theatre Industry, South Africa. Performing Arts Network of South Africa (PANSA): Playwrights www.pansa.co.za/groundwork/ writers-corner

PERFORMING ARTS

THEATRES CAPE TOWN Artscape Theatre Centre www.artscape.co.za

Centurion Teater www.centurionteater.co.za Encore Complex www.encorecomplex.co.za

Baxter Theatre www.baxter.co.za

Malva store 286 Fox Street Phone: 0843 082 024

The Fugard Theatre www.thefugard.com

Market Theatre www.markettheatre.co.za/

Magnet Theatre www.magnettheatre.co.za

Peter Taylor Projects (pTp) Phone: 011 022 9765

Masque Theatre Muizenberg Phone: 021-788 6999 www.masquetheatre.co.za

Peoples Theatre www.peoplestheatre.co.za/

Maynardville Open Air Theatre 20 Piers Street, corner Wolfe Road, Wynberg www.maynardville.co.za Milnerton Playhouse www.milnertonplayers.com Playhouse Theatre in Somerset West www.theplayhouse.co.za Theatre on the Bay www.theatreonthebay.co.za On Broadway Theatre Cape Town www.onbroadway.co.za

The Victory Theatre www.victorytheatre.co.za Windybrow Theatre (The) www.windybrowarts.co.za/ Wits Theatre web.wits.ac.za/witstheatre

* OVERVIEW References: Gauteng Provincial Government, ‘Background’ Gauteng’s Creative Industries: The performing arts sector. <www.sacr.gpg.gov.za/Documents/ Creative%20Ind/Performing%20 Arts%20Sector.pdf> Green J, 2011, ‘Alterating Conditions: Performing performance art in South Africa’ Networked Performance. <turbulence.org/blog/2011/01/17/ alterating-conditions-performingperformance-art-in-south-africajohannesburg/> Media Club South Africa www.mediaclubsouthafrica.com/ index.php?option=com_content&vie w=article&id=711:heritage030908& catid=43:culturenews&Itemid=112# ixzz1eJL8LbUI South Africa.Info: About Arts & Dance www.southafrica.info/about/arts/ dance.htm#ixzz1eJFXsddV SA Arts and Cultrue www.info.gov.za/aboutsa/artscult. htm

JOHANNESBURG The Joburg Theatre www.joburgtheatre.com National Children's Theatre www.jyt.co.za Brooklyn Theatre www.brooklyntheatre.co.za

VISUAL ARTS

My works is first and foremost directed by my concepts, ideas and experiments. All these, through a thought process and experimenting direct, and suggest the final materialization of any work and or project. Kemang wa Lehulere Multi-media Artist

VISUAL ARTS

OVERVIEW South Africa's visual art history is rich, dense and complex. South Africa itself is home to some of the most ancient and beautiful art in the world — the rock art of the ancestors of today’s Bushman or San. It is also the scene of a host of diverse and challenging contemporary artists producing important new work. During the colonial era, artists tended to concentrate on depicting this 'new world' in detail and as accurately as they could make it, though sometimes this led to selective emphasis. Artists such as Thomas Baines travelled the country recording its flora, fauna, people and landscapes, a form of reporting for people back in the colonial metropolis. Towards the end of the 19th century, painters Jan Volschenk and Hugo Naudé and the sculptor Anton van Wouw began, through their work, to establish a locally rooted art. Their work is the first glimpse of an artistic vision engaging with life as lived in South Africa, for its own sake, rather than as a 'report' to the colonial master. It is the art of the moment in which South Africa, with Union in 1910 and thus the formal end of the colonial era, was beginning to acquire its own national identity. In the first decades of the 20th century, the Dutch-born painter JH Pierneef brought a coolly geometric sensibility to the South African landscape, finding in it a strict but beautiful order. He also, in a way that fed into Afrikaner nationalist ideology, found it bereft of human inhabitants. By the 1930s, two women artists, Maggie Laubscher and Irma Stern, brought a different kind of subjective gaze to South African art by using the techniques and sensibilities of post-impressionism and expressionism. Their bold way with colour and composition, and the assumption of a highly personal point of view, rather scandalised those with old-fashioned concepts of acceptable art. Yet already younger artists such as Gregoire Boonzaier, Maud Sumner and Moses Kottler were rejoicing in the new spirit of cosmopolitanism they were able to bring to South African art. From the 1930s onward, Gerard Sekoto portrayed urban African life in places such as Sophiatown and District Six, vital and tumultuous hotspots of an emerging though still unacknowledged black culture. Other emerging black artist of the time include George Pemba, John Koenakeefe Mohl and Dumile Feni who went into exile in 1968, and died in New York in 1991. Black artists also made striking use of the accessible and relatively cheap medium of the linocut. Among those who used it to great effect were Azaria Mbatha and John Muafangejo. In the 1980s and 1990s, artists such as William Zulu, Vuyile Cameron Voyifwa, Cyprian Shilakoe and others extended linocut work into what has become practically a subgenre of its own in South African artistic practice. Conceptual art in South Africa - which had had significant though muted beginnings in earlier decades - seemed to come into its own in the 1990s. There are many other artists at work in South Africa today, making art from a huge range of materials and pushing the boundaries of what art itself consists of. Through their very works, they ask what art's position is in a society in transition from the repressive limitations of the past to the scary uncertainties of the future. Read more: http://www.southafrica.info/about/arts/art and: http://www.sahistory.org.za/topic/towards-peoples-culture-art-and-resistance-under-apartheid

VISUAL ARTS HANDBOOK TRAINING As with film, music, and the performing arts, a huge benefit of coming up through a credible institution or organisation in South Africa, is that your work will be seen by, and you will be in a position to meet with, an existing network of people already practicing and/or influential within the visual arts world. For example, photographer Mimi Cherono Ng’ok attended the Michaelis School of the Fine Arts, University of Cape Town (UCT). Upon her photographic work being viewed by a gallery representative at the final students’ year-end show, Ng’ok was fortunate to be booked for an exhibition by the gallery. On the other hand, Kemang wa Lehulere had always wanted to study but could not afford to. “When I won the Spier Contemporary art award in 2007 I took the opportunity (to study). Working with Thembinkosi Goniwe who was a mentor at the time also influenced my choice to go to Wits instead of UCT. I think education in all its forms (formal and informal) is important as a means towards understanding the world, which is of utmost importance for any creative intellectual... I read a lot, from newspapers to novels, academic texts and non-academic texts, from history and what is current. Every human expression is important to understanding the world.” If studying is an unaffordable option, consider enquiring with the institution you are interested in whether they allocate bursaries for your field of interest. Interning and volunteering at arts organisations or working under a respected artist are also beneficial ways of getting hands on training, of meeting people in the field and gaining personal exposure.

See page 73

for places to study.

See list including bursaries available on page 75.

For a listing of galleries visit

GALLERIES

www.southafrica.info/ travel/cultural/galleries.htm; http://www.artthrob.co.za/ Galleries/

The Commercial Gallery is a financially-based space that usually works on a process of building their own stable of artists who they represent, and will show on a regular basis in both group and solo shows; establishing an ongoing relationship with their artists e.g. Goodman Gallery, Michael Stevenson Contemporary, Bell-Roberts, Joao Ferreira and Whatiftheworld Gallery.

List of gallery models or types isexcerpted from Africa Centre & the Visual Arts Network of South Africa (VANSA) 2008, The Artist’s Handbook: A Guide to the Business of the Arts, Africa Centre, South Africa. Available for free download from http://www.scribd. com/doc/56411856/TheArtists-Handbook-01

There are several models or types within the Gallery structure:

The Association is a committee-based, non-profit organization. They are often open to community-based projects and they work on a submission basis as opposed to keeping a stable of artists, e.g. Association of Visual Arts, KwaZulu-Natal Society of Arts.

Further reading:

The Nelson Mandela Metropolitan University lists and expands on Studio Arts, Printmaking and Illustration career options: www.nmmu.ac.za/default. asp?id=6308&sid=&bhcp=1

VISUAL ARTS

The Institutional Gallery is linked to an institution, often a university or education centre. They usually work on a submissions basis and are not-for-profit, though they do sell work and take a commission e.g. The Michaelis Gallery, University of Cape Town Irma Stern, UNISA Gallery, University of Stellenbosch Gallery. The Project Space

is a not-for-profit, submission-based space that encourages young and experimental artists e.g. blank projects space.

The Museum

is usually a state-funded cultural institution that functions to display, collect and preserve important works. It often displays works from its own collection or curated group shows. It is a non-commercial space and works are never exhibited for sale, e.g. South African National Gallery, Johannesburg Art Gallery, Durban Art Gallery. Additionally, The Online Gallery is essentially a ‘gallery’ on the world wide web, as an example see - The State of the Art (www. stateoftheart.co.za). Strictly online galleries are not common practice in South Africa – most physical gallery spaces have an online presence but which supports the main physical exhibition space. Some artists have a gallery on their own websites or blogs where the gallery can serve a primarily function as the artist’s portfolio – this can be a point of sale also. If you choose to have your work for viewing online, ensure that you license your work appropriately.

How to approach galleries? According to Visual Arts Network of South Africa (VANSA), galleries prefer to source their own artists to showcase, however, you can approach galleries to show them your work, but first familiarize yourself with their submission policy. It is beneficial to seek those which complement your style of work. If their submissions policy allows for it, call them and set an appointment to present your work. When meeting a potential exhibitor, take your portfolio, artist’s statement, biography, and CV. Read about what these are, how to make them, and see examples here: www.scribd.com/doc/56411856/TheArtists-Handbook-01#page=110

Further reading:

for more information on licencing and to select which licence works best for you, visit www.creativecommons.org/

Also see page 102 for more on copyright law.

For a step-by-step guide

to preparing a professional presentation go to www. wikihow.com/ÇPrepare-aProfessional-Presentation

See steps to making a portfolio and find links to free downloadable graphic programmes to use to edit and layout images at www.artright.co.za/ handbook/building-career/ self-promotion-guide/ portfolio/

VISUAL ARTS

The business relationship between gallery and artist When a gallery signs an artist, this essentially means that the gallery has exclusive right to market, promote and sell an artist’s work for a contractually binding period of time. After the contract signing, it is then the gallery’s responsibility to promote, market and handle queries, distribution and administrative logistics pertaining to the artist’s work during the exhibition, as well as the staging of the exhibition. In turn, a gallery can request between 40 - 60% commission of works sold.

RESIDENCIES

Artist-in-residence programmes and other residency opportunities allow visiting artists to stay and work so that they may apply singular focus to their art practice. These programmes offer conditions that are conducive to creativity and they provide for working facilities, for both individual artists and groups. Residencies differ in terms of what they offer the artist as well as the residency tenure. For example one residency programme may offer you studio space, living allowance, stipend and accommodation whilst another may only offer studio space. Some offer no stipend or payment at all, but might offer administrative support, and some require that an exhibit of the work you produced while in residence is staged. For Ng’ok, residencies are a ‘holding period’ in that it’s a time when she can be focused and produce, and not have to also seek work aside from her creative production to provide sustenance. The Alliance of Artist communities’s website has helpful texts at these links: • Choosing the right residency for you www.artistcommunities.org/about-residencies/choosing-the-right- residency-for-you • Preparing for a residency www.artistcommunities.org/about-residencies/preparing-for-a-residency • Fees, stipends, and funding for residencies www.artistcommunities.org/about-residencies/funding-a-residency Residency programmes in South Africa are offered by either the independent organisations or tertiary institutions that offer tutelage in visual arts. Here are some of the residency programmes on offer in South Africa: • The Bag Factory: www.bagfactoryart.org.za • Nirox Foundation: www.niroxarts.com/Residency/overview_introduction.aspx • Greatmore Art Studios: www.greatmoreart.org 48

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• Africa Centre: Artist in Residency Programme: www.africacentre.net • Caversham Centre for Writers and Artists: www.cavershamcentre.org • Keleketla!Library: www.keleketla.org/2011/03/21/of-books-and-residencies/ More extensive residencies listings are offered on the following sites: • Worldwide network of artists’ residencies: http://resartis.org/en/ • Trans Artists: Your artists in residence guide: http://www.transartists.org/ artist-in-residence • Thami Mnyele Foundation: www.thami-mnyele.nl/ • VANSA: www.vansa.co.za/opportunities/residencies • Trans Artist: www.transartist.org/find-your-residency • Creative Africa Network: www.creativeafricanetwork.com

COMPETITIONS

Entering competitions opens many possibilites for fostering your career. Spier Contemporary 2007 winner Kemang wa Lehulere says about his win: “It has helped by supporting my practice financially, but also, and more importantly, the recognition and publicity that came with the awards has been tremendous. It has also encouraged the production of experimental works that do not have to be bound by market demands.”

See page 77 for a list of

visual art competitions.

There are several well recognised and prestigious visual arts competitions in South Africa. Qualifying as a finalists or winning comes with monetary reward and great publicity and promotion. The South African National Association for the Visual Arts (SANAVA) website is a great source for current information on visual art competitions. For more details, visit www.sanava.co.za/ competitions.html.

DO IT YOURSELF

Alternatively, you can take a do-it-yourself approach, by showcasing your work or staging your own exhibition at public venues such as restaurants, cafes or even your own home; forming or joining an arts collective like Cape Town based Gugulective: (www.gugulective.net); availing your work online – visit WikiHow (www.wikihow.com/Sell-Fine-Art-Online) for a guide; diversify your art like renowned artist Keith Haring who also printed his work on tshirts and postcards for retail; share or exchange studio space to produce, learn from your peers, share overhead costs, and sell your work from your studio space like New Delhi based The People Tree (www.peopletreeonline.com).

See page 54 for list of Art

Material stores.

VISUAL ARTS

Fine artist Maurice Mbikayi approached Alliance Francaise to host an exhibition of his work: “Because of my French-speaking background, my approaching Alliance Française was natural. I’m a regular member of the Alliance Française of Cape Town and had been selected for a group show in the past, plus the Alliance Française support cultural initiatives and are willing to collaborate. After being selected in Spier Contemporary 2010 for my performance ‘voices’, I submitted a proposal for a solo show at the Alliançe Cape Town and it was welcome. After the show in August 10th 2010, Dr. Ludmila Ommundsen – the director of the Alliance Française Cape Town – was particularly touched by my work and proposed that the exhibition tour to the rest of the Southern African Alliance Française offices, which I agreed to. During my tour, the show was well received and I got to know many Alliance Français directors, other staff, as well as other fantastic people. I discovered other areas of the country and neighbouring countries. It was a great exchange experience. I’m so grateful for that.”

SELF PROMOTION

Earning a living from your talents means bringing your innovative ideas and entrepreneurial skills together. Whichever direction you take as a visual artist, a level of self-promotion is necessary in order to garner interest, sales and maybe recognition. Artright’s Self Promotion Guide details ways in which a visual artist can build a sustainable career – see www.artright.co.za/ handbook/building-career/self-promotion-guide/.

IN CONVERSATION WITH MIMI CHERONO NG'OK Q:

Assuming there is a point when with some degree of consciousness we launch ourselves into creative production – when was that for you and what were your aims or motivations for entering this creative path? Are they the same now as they were then?

MN: I think it was when I was twelve years old. I didn’t have any aims and motivations at that point. All I knew was that I really liked art classes and drawing and making things with my hands. In my mind being an artist was about making things. I feel the same way today, primarily I am an artist because I’m interested in making things, in some form of creativity, and while at this point I work in a fine art context, I would still like to engage with other art disciplines.

Q: What were (maybe still are) some of the challenges you faced as a photographer earlier on?

VISUAL ARTS

MN:

I think money was an issue for me. You need money to buy materials – film, photographic paper etc. and to print work, produce frames. So as much as you can do a lot with very little, and be very creative coming up with solutions to financial issues, it does help to have money – lots of it. A personal challenge I had was I didn’t have a support system. Most of my friends didn’t understand the visual arts industry and my family was out of the country, which meant I had to figure out most things on my own.

Q: You graduated from the University of Cape Town (UCT) with a Fine Arts degree. What are your reflections on studying Fine arts in South © Mimi Cherono Ng’ok Africa - on the experience, the benefits of going through the formal education process? In hindsight, would you have made other decisions about studying? Where or with whom else do you consider your ‘visual arts education’ to have come from? MN:

My biggest critique regarding studying in South Africa is its obsession with the Western art process/art world. When I was at UCT we spent considerable amounts of time on American artists, the YBAs (young British artists) and local artists (South Africans) but did nothing on artists from the rest of the continent. It seemed like there was a complete disconnect. It seems the interest is in Western aesthetics and what that involves and there is a lack of engagement about other forms of production from other places. We also did the bare minimum on Japanese artists; I remember watching 'Ghost in the Shell' and other Manga [films] in art class or Spike Jonze and Chris Cunningham videos but we never did anything on Malian photographers like Malick Sidibe, Seydou Keïta or Senegalese cinema. There’s so much content we could have covered. I don’t regret studying, but I think now I’m going through my own re-education, recognizing other aesthetics that may not mirror Western artistic practice. The benefits of being in university is that it’s a site of exploration and experimentation, which is something I wish I had understood while studying and had taken advantage of, I was too busy trying to figure too many things out. My advice to 1st year fine art students is to treat the classroom as a site of learning, of experiment, to try as much as possible.

What creative ‘work’ has been valuable to you? Perhaps there was something which paid very well, or an opportunity to work with a specific person, or a nice/ugly learning curve?

MN: A nice learning curve was when I assisted a visiting artist who was in residence at the Goodman gallery. It wasn’t anything specific about the work I helped him with but rather the conversations we had about art practice. I felt his input was really significant because he had worked outside of South Africa and had a completely different experience of the art world. It also helped me put a lot of things into perspective around my own work and ways to move forward.

VISUAL ARTS

Q: I often hear from various arts practitioners that the way to improve one’s ability is to practice. Do you agree? Would you share your own experiences or practices of how you improved your own creative ability generally, or capability within the sphere of the visual arts? MN:

For me, my photography practice involves more than taking pictures. Practice means visiting exhibitions and seeing other artist’s work, reading as much as possible to improve my photography language and practice, and being able to engage with other art forms to improve my own practice. I think it’s important to see other forms of production and learn from them; watching Nigerian movies, Francophone cinema, that’s a form of practice.

* Interview with Mimi Cherono Ng'ok conducted by Rucera Seethal, November 2011.

CONTRIBUTORS KEMANG WA LEHULERE Born in Cape Town, Kemang Wa Lehulere is a multi-media artist who currently lives and works in Johannesburg. In 2006 he co-founded the art collective Gugulective, an artist-led initiative based in Cape Town. Wa Lehulere has participated both collectively and in his personal capacity in exhibitions and interventions both locally and abroad. He is also a member of the Dead Revolutionaries Club, and a founding member of the Center for Historical Reenactments based in Johannesburg. His creative writing has been published in Amkenah, Alexandria (2008) and Remembering Future Africa, New York (2009). Wa Lehulere is the recipient of the inaugural Spier Contemporary 07 Award and more recently MTN New Contemporaries 2010 Award.

MIMI CHERONO NG’OK Born in 1983, Mimi Cherono Ng’ok lives and works in Nairobi and Cape Town, she is a Kenyan artist and photographer. A recipient of the Edward Ruiz Mentorship for emerging photographers, in 2008 she produced a solo exhibition on African immigrants living in South Africa, which previewed at the height of xenophobic violence in cities across South Africa. Consequently her work was exhibited at the Market Photo Workshop in Johannesburg, South Africa and BCI Formenta in Maputo, Mozambique. Currently, as result of a Changamoto Arts grant, she is working on documenting Nairobi through a series of exhibitions and exchanges within the city.

MAURICE HERMÈS MBIKAYI Maurice explores various aspects of visual art and public performance, as a way of engaging the public and interrogating socio-political boundaries. Born in Kinshasa in the Democratic Republic of Congo in 1974, Maurice Hermès Mbikayi attended the Academies des Beaux Arts and graduated with a diploma in Graphic Design and visual communication in 2000. He moved to South Africa mid-2004. As one of the Spier Contemporary 2010 biennale’s selected artists, he was also selected to participate in the 2010 Hollard Exchange Program facilitated by the Spier Arts Academy in Cape Town. Since arriving in South Africa, Maurice has participated in various group exhibitions at the AVA Gallery; The Centre for African Studies Gallery at the University of Cape Town; The Alliance Française Cape Town; The National Museum of Swaziland; CCF, Maputo; Mozambique; The S.A. Iziko Slave Lodge; and the Harare International Festival of the Arts 2008. Maurice has co-facilitated group processes and workshops using art for therapeutic purposes. 52

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RESOURCES ORGANISATIONS The Africa South Art Initiative www.asai.co.za Business Arts South Africa (BASA) www.basa.co.za Ifa Lethu Foundation www.ifalethu.org.za Performing Arts Worker’s Equity Phone: 011 403 6234 E-mail: pawe@icon.co.za The South African National Association for the Visual Arts (SANAVA) www.sanava.co.za SA Society of Cinematographers Phone: 011 788 0802 E-mail: sasc@mweb.co.za Visual Arts Network of South Africa (VANSA) www.vansa.co.za

Assemblage: Career Options Battenfield, J 2009, The artist’s guide: Making a living doing what you love, Da Capo Press. Bhandari, H D & Melber, J 2009, ART/WORK: Everything you need to know (and do) as you pursue your art career, Free Press. Blanckenberg, L 2011, ‘Selling your work and creating a network of customers’ Assemblage. http://www.assemblage.co.za/ index.php?option=com_content&vie w=article&id=148:buyers&catid=49: network&Itemid=64 Bresler, J & Lerner, R E 2010, All about rights for visual artists, Practicing Law Institute. Cartoon Smart www.cartoonsmart.com/ Cook, S & Beryl, G 2010, Rethinking curating: Art after new media, Massachusetts: MIT

FURTHER INFO (Books, audiovisual resources and links to other resource lists):

David Krut Video Library www.youtube.com/user/ davidkrutprojects1#p/u

African Arts Institute and the Arterial Network Publications: • Arts and culture information directory ISBN # 978-0-9869896-8-1 • Arts advocacy & networking toolkit ISBN # 978-0-9869896-3-6 • Arts fundraising toolkit ISBN# 978-0-9869896-4-3 • Project Management Toolkit for Arts and Culture ISBN# 978-09869900-2-1 www.africanartsinstitute.org.za www.arterialnetwork.org

Gadd, A Making your art work: a guide to making a living from art in South Africa, South Africa: Create Yourself Publications & Blueweaver.

Durkin, K F , Bryant C. D (ed.) & Peck, D (ed.) 2009, ‘Images of Death in Popular Culture’ Encyclopedia of Death and the Human Experience, Sage, California pp.811-813

Horowitz, N 2011, Art of the Deal: Contemporary art in a global financial market, Princeton University Press. iTunes University www.apple.com/education/itunes-u/ Marincola, P (ed.) 2006, What makes a great exhibition?, Philadelphia Centre for Arts and Heritage. Multi-media List http://video.pbs.org/subject/957383343 Ross, L ‘The Importance of going to exhibition openings’ Assemblage. http://www.assemblage.co.za/ index.php?option=com_content&vie w=article&id=80:impexhopen&catid =49:network&Itemid=64 Thompson, D 2008, The $12 million stuffed shark: The curious economics of contemporary art, Palgrave Macmillan.

SPECIALIST SERVICE PROVIDERS VANSA Art Map www.vansa.co.za/art-map/westerncape/specialist-service-providers www.vansa.co.za/art-map/gauteng/ specialist-service-providers

Groys, B 2008, Art power, Massachusetts: MIT.

VISUAL ARTS

ART MATERIALS CAPE TOWN

Art Book Centre CC Phone: 011 883 5304

Digital Brothers www.digitalbrothers.co.za

Art Shops Online www.artshopsonline.com

Ashley & Radmore (Pty) Ltd 16/20 Blumberg St, Industria West Phone: 011 474 9068

Fixation Photographic www.fixation.co.za

Fabulous Art www.fabulousart.co.za Janineâ&#x20AC;&#x2122;s Online Art Shop www.onlineartshop.co.za The Deckle Edge www.deckleedge.co.za Art Source www.artsource-ct.co.za Mercurius South Africa Phone: 021 715 8357 Stockmar South Africa Phone: 021 715 8357 The Framed Feather Phone: 021 949 8419 www.theframedfeather.co.za the write shoppe Phone: 021 785 7614 www.thewriteshoppe.co.za Red Balloon Craft Junction www.redballoon.co.za

Johannesburg Krylon Spraypaints Phone: 011 444 1333 Herbert Evans Art Shop Fourways Crossing, Sunset Boulevard Phone: 011 465 8989 Mall of Rosebank Phone: 011 447 3262 Greenstone Shopping Centre Phone: 011 452 0806

Parker Craft 159 Greenvale Road, Meadowbrook, Phone: 011 455 6810 Showbiz Beyers Naude Drive, Cresta Shopping Centre, Cresta

PHOTOGRAPHY EQUIPMENT CAPE TOWN Orms Pro Photo Warehouse Roeland Street, Phone: 021 465 3573, www.ormsdirect.co.za Photographic Gear Unit A6 Howe Studios, Howe Street Phone: 021 447 6276 www.photographicgear.co.za Pinnacle Fotographic Shop 8, Viveka House, Parklands Main Road, Parklands Phone: 0861 114 516 www.pinnaclesales.co.za Lustre Optical Laboratories (Pty) Ltd 4 Loop Street Phone: 021 419 9540 Tone Photo C C Sovereign Quay , Cnr Somerset & Liddle streets Phone: 021 462 2113 Danau Phone: 021 686 3307

Fuji Image Centre Phone: 021 914 1316 www.fujionline.co.za

JOHANNESBURG Beyond It Phone: 011 447 4893 Cameraland Shop 4, The Colloseum, Commissioner Street D and P Services: The Professional Choice 1st Fl Fine Art Centre, 105 Pritchard St Eco-pine Union Square, 80 Plein Street G and L Agencies 98 Langwa Street Phone: 011 792 1097 Koping B & Zabludowsky RG Tempo Shopping Centre Med-Mac Services Phone: 011 432 3545 Mikroplan Interiors and Shopfitters 18 Webber St., 1st Floor Barrow House Selby

VISUAL ARTS

GALLERIES CAPE TOWN

Cape Gallery 60 Church Street www.capegallery.co.za

Hanel Gallery 84 Shortmarket Street www.hanelgallery.com

34 Fine Art 160 Sir Lowry Road, Woodstock www.34fineart.com

Carmel Art Original www.carmelart.co.za

Irma Stern Museum Cecil Road, Rosebank www.irmastern.co.za

38 Special Gallery 38 Buitekant Street, Gardens 3RD Gallery 95 Upper Waterkant Street A Word of Art Woodstock Industrial Centre, Albert Road, Woodstock www.a-word-of-art.co.za Alfred Mall Gallery Shop 1, Alfred Mall Shopping Centre, V&A Waterfront www.fineartportfolio.co.za Alliance Franรงaise 155 Loop Street - CBD www.alliance.org.za ART.B Library Centre, Carel van Aswegen Street, Bellville www.artb.co.za Association for Visual Arts 35 Church Street |CBD www.ava.co.za Barnard Gallery 55 Main Street, Newlands www.barnyardgallery.com Blank Projects 113-115 Sir Lowry Road, Woodstock www.blankprojects.com Bronze Age Foundry King George Way, Simonstown www.bronzeageart.com

Cape Quarter Square 27 Somerset Road, Green Point Casa Labia 192 Main Road, Muizenberg www.casalabia.co.za Chelsea Art Gallery 51 Waterloo Rd, Chelsea-Wynberg David Krut Projects Cape Town 31 Newlands Avenue, Newlands www.davidkrutprojectscapetown.com Deon Viljoen Fine Art 1 Palmboom Road,Newlands Ebony 67 Loop Street, Shop 4, Franschoek Square, 32 Huguenot Street, Franschoek www.ebonydesign.co.za Erdmann Contemporary and the Photographers Gallery 63 Shortmarket Street www.erdmancontemporary.co.za

Joao Ferreira Fine Art 70 Loop Street, CBD Johans Borman Fine Art Gallery In-Fin-Art Building, Upper Buitengracht Street www.johansborman.co.za Michaelis Collection Old Town House, Greenmarket Square, www.iziko.or.za Michaelis Galleries Hiddingh Campus, 31-37 Orange Street, www.michaelis.uct.co.za Michael Stevenson Gallery Buchanan Building, 160 Sir Lowry Road, Woodstock www.stevenson.info Museum Photographic Art Gallery Upper Eastside, 31 Brickfield Road, Salt River,

Everard Read Gallery 3 Portswood Road, Victoria and Alfred Waterfront www.everard-read-capetown.co.za

Porcupine Ceramics Gallery Shop 103, Ground Level, Clock Tower Shopping Centre, V&A Waterfront www.porcupine.co.za

G2 Art 61 Shortmarket Street www.g2art.co.za

Rose Korber Art Consultancy 48 Sedgemoor Road,Camps Bay www.rosekorberart.com

Greatmore Studios 47-49 Greatmore Street, Woodstock www.greatmoreart.org

Salon 91 91 Kloof Street, Gardens www.salon0art.co.za

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Sanlam Art Gallery 2 Strand Road, Bellville www.sanlam.co.za The South African Art Collection Shop 9, Lower Ground Level, Clock Tower Shopping Centre, V&A Waterfront www.fineartportfolio.co.za The South African National Gallery Government Avenue, Company Gardens www.iziko.org/za/museums/southafrican-gallery/ The South African Print Gallery 109 Sir Lowry Road, Woodstock www.printgallery.co.za The Table Bay Gallery Shop 6246, Upper Level, Victoria Wharf Mall, V&A Waterfront These Four Walls 168 Lower Main Road, Observatory www.thesefourwalls.co.za Urban Contemporary Art Gallery 46 Lower Main Road, Observatory

ABSA Gallery Absa Towers North, 161 Main Street African Feelings Gallery 154 Linden Street, Sandown AFRONOVA 155 Smit Street, Braamfontein www.afronova.com Alice Art Gallery 217 Dryf Avenue, Ruimsig, Roodepoort www.alicart.co.za Alliance Française 17 Lower Park Drive, Parkview Anton Smit Sculpture Park www.alliance.org Art Africa 62 Tyrone Ave, Parkview Art Afrique Shop no U45, Legacy Mall, corner Maude & 5th Streets, Sandton www.artafrique.co.za

ARTONESIXTY Gallery Corner 7th Street and Jan Smuts Avenue, Rosebank www.artonesixty.co.za Artspace Gallery: 1 Chester Court|142 Jan Smuts Avenue, Parkwood, Rosebank Warehouse: 3 Hetty Avenue, Fariland, Parkwood, Rosebank www.artspace-jhb.co.za BAG Factory, aka Fordsburg Artists’ Studios 10 Minnaar Street, Fordsburg www.bagfactoryart.co.za Batanai Artworks 52 6th Avenue, Parkhurst Bensusan Museum of Photography 121 Bree Street, Newtown Cultural Precinct, Newtown www.joburg.org.za/culture/museums-galleries/bensusan-museums Chapangu Garden Gallery 304 Adolf Street, Sandton www.chapangusculpturepark.com Cherie de Villiers Fine Art Gallery The Mall (lower level), Rosebank www.gallery.co.za

Whatiftheworld Gallery 1 Argyle Street (Corner Argyle and Albert Road), Woodstock www.whatiftheworld.com

Art on Paper 44 Stanley Avenue, Braamfontein www.artonpaper.co.za

William Fehr Collection Corner of Darling and Buitenkant Streets, Cape Town

Artist Proof Studio The Bus Factory, 1 President Street, Newtown www.artistproof.co.za

Circa on Jellicoe 2 Jellicoe Avenue, Rosebank CO-OP, 68 Juta Street, Braamfontein, Johannesburg www.circaonjellicoe.co.za

Artists Under the Sun Zoo Lake, cnr Westwold Way and Jan Smuts Ave, Parktown www.artistsunderthesun.co.za

David Brown Fine Art Nelson Mandela Square, Sandton City, Sandton www.davidbrownfineart.co.za

Arts on Main 264 Fox Street

David Krut Publishing 140 Jan Smuts Avenue, Parkwood www.davidkrutpublishing.com

Worldart Cape Town 54 Church Street, Cape Town www.worldart.co.za Youngblackman 69 Roeland Street, Cape Town www.youngblackman69.com

JOHANNESBURG

VISUAL ARTS

Everard Read Gallery 6 Jellicoe Avenue, Rosebank www.everard-read.co.za Firenze Gallery DF Malan Extension, Muldersdrift Gallery 181 36 Orleans Road, Kya Sands, Randburg www.mukandeni.com Gallery MOMO 52 7th Avenue, Parktown North www.gallerymomo.com Gallery on the Side Pineslopes Shopping Centre, Witkoppen Road, Fourways, Sandton Gallery on the Square Nelson Mandela Square, corner Maude and Fifth streets, Sandton Gallery Seippel Arts on Main, 40 Berea Street, corner 245 Main Street, www.seippel.ev/ johannesburg/gallery.php Gordart Gallery 78, 3rd Avenue, Melville Goodman Gallery 163 Jan Smuts Avenue, Parkwood www.goodmangallery.com Grahamâ&#x20AC;&#x2122;s Fine Art Gallery Unit 46, Broadacres Lifestyle Centre, corner Cedar and Valley Roads Broadacres, Fourways www.grahamsgallery.co.za Henry Taylor Gallery Shop No G 7.2, Cedar Square, corner Cedar and Witkoppen Roads, Fourways, www.henrytaylorgallery.co.za

Hyde Park Gallery Shop 2, Middle Mall, Hyde Park Shopping Centre Hyde Park, Sandton, www.fineartportfolio.co.za In ToTo Gallery 6 Birdhaven Centre, 66 St. Andrew Street, Birdhaven www.intotogallery.co.za Johannesburg Art Gallery Klein and King George Streets, Joubert Park Kim Sacks Gallery 153 Jan Smuts Avenue, Parkwood www.kimsacksgallery.blogspot Market Photography Workshop Market Cultural Precinct, 139 Bree Street, Newtown www.marketphotoworkshop.co.za Museum Africa Mary Fitzgerald Square, 121 Bree Street, Newtown www.joburg.org.za Ngwenya Art Gallery Sunridge Farm, Corner Beyers Naude & Diepsloot R114, Mulderdrift www.ngwenyaartgallery.co.za Obert Contemporary 14 the High Street, Melrose Arch www.obertcontemporary.com Objekt 32 7th Avenue, Parktown North

Rooke Gallery Ground floor, The Newtown, Newtown www.rookegallery.com Seedpod Studio Broadacres Garden Centre, Cedar Rd, Fourways, www.seedpodstudio.com Spaza Art Gallery 19 Wilhelmina Street, Troyeville Standard Bank Gallery Corner Simmonds and Fredericks streets Stevenson Johannesburg 62 Juta Street, Braamfontein Thompson Gallery,78 3rd Avenue, Melville www.stevenson.info Totem Gallery Sandton City Shopping Centre, Shop U 17a, Upper Level, Sandton www.totemgallery.co.za UJ Arts Centre Cnr Kingsway and University Road, Auckland Park www.uj.ac.za Unity Gallery The Bus Factory, 3 President Str, Newtown, www.unitydesign.co.za Watercolour Society of South Africa (WSSA) Manor Gallery, Norscot Manor Centre, Penguin Drive, Fourways www.wsa.org.za

Roodepoort Museum Gallery Civic Centre, 100 Christiaan de Wet Road, Florida Park, Roodepoort www.joburg.org.za/culture/museums-galleries/roodepoort-museum

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There are few writers who get to just write â&#x20AC;&#x201C; everyoneâ&#x20AC;&#x2122;s got a sideline, a lifeline ... as a writer I can create other possibilities and other universes. Phillippa Yaa De Villiers Poet, Writer and Actress

LITERATURE

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OVERVIEW The first fictional works to emerge from South Africa were produced by immigrants who often felt alienated from the South African landscape - at the same time as they were fascinated by its harsh beauty. These colonial writers were unsettled and intrigued by what they perceived as exotic elements of indigenous cultures. Two important and recognised South African voices include Olive Schreiner (1800s ) and Douglas Blackburn (1900s). It was not until the 20th century that recognised literature by black South Africans emerged. Viewed as the founding father of black literature in South Africa, Sol Plaatje was also the first secretary general of the then South African Native National Congress (now the African National Congress) at its foundation in 1912. Another important figure of this time was Thomas Mofolo. The 1940s saw the beginnings of a flowering of literature by black South Africans, as a generation of missioneducated black South Africans came of age. Among them were HIE Dhlomo, Peter Abrahams and Herman Charles Bosman. Cry, The Beloved Country (1948) is possibly the most famous novel to have come out of South Africa. When it was first published, it was an international bestseller, launching its author, Alan Paton, to worldwide fame. The novel put South Africa on the map of international politics by making visible to Western audiences the effects of racial prejudice and the oppression of black people. The 1950s in literary history is sometimes reffered to as 'The Drum Dacade'. It heralded a new generation of black writers talking about the conditions of their lives in their own voices, voices with a distinctive stamp and style. The popular Drum magazine in the 1950s was their forum, and encouraged their emergence. It depicted a vibrant urban black culture for the first time, a world of jazz, shebeens (illegal drinking dens) and flamboyant tsotsis (gangsters). Notable writers of this period included Todd Matshikiza, Henry Nxumalo, Nat Nakasa, Can Themba, Lewis Nkosi and Mphahlele. E’skia Mphahlele’s autobiographical Down Second Avenue (1959) is a landmark in the development of South African fiction. At the same time as the Drum generation was creating the first urban black voice, one of South Africa’s most important white writers was beginning her long, distinguished career. Nadine Gordimer published her first short stories in the early 1950s; in 1991 she was awarded the Nobel Prize for Literature. Influencial comtemporary post-apartheid writers include Zakes Mda, Ivan Vladislavic, Lesego Rampolokeng, K Sello Duiker, and Mark Behr. Look out for Zoe Wicomb’s David’s Story and Achmat Dangor’s Bitter Fruit (both 2001); Mike Nicol’s The Ibis Tapestry (1998), Phaswane Mpe’s Welcome to Our Hillbrow (2001) and Kgafela wa Magogodi’s Thy Condom Come (2000). Among Afrikaans writers now translated into English, look out for Etienne van Heerden’s Ancestral Voices (1989) and Marlene Van Niekerk’s Triomf (1994). For more including writing of love across the colour line, writing in opposition, Soweto poets, and the emergency years, go to: www.southafrica.info/about/arts/literature

LITERATURE HANDBOOK Writing is a talent, and an inclination. To pursue it as a career can be a long road, though the career directions are vast. Later in the chapter we expand on career paths available. Studying can be a helpful way of improving your ability, for some fields such as journalism or editing, studying (either through a tertiary institution, or through mentorship, or experience as an intern or volunteer) is more necessary. Creative writing is an area with more scope for ‘breaking the rules’, and though studying is to some extent ‘less necessary’, practice and the sharpening of one’s talents is an important process.

See page 74 for places to study, and for list of bursaries available see page 76.

Writer and publisher Colleen Higgs advises: "The thing aspiring writers should know though is that they should work with an editor or a mentor, so that their work is of a high standard. They can access such people through the Professional Editor’s Group or word of mouth. They should try to get things published in literary magazines on and off line, e.g. Litnet, Carapace, New Coin, New Contrast, Chimurenga, Botsotso, Words Etc. Green Dragon and Deep South. And they should keep an eye on Book SA (bookslive.co.za) and Litnet (www.litnet.co.za). Go to book launches and read a lot."

Writing styles Fiction writing Fiction writing is any kind of writing that is not factual. The elements of fiction are: character, plot, setting, theme, and style. Of these five elements, character is the 'who', plot is the 'what', setting is the 'where' and 'when', and style is the 'how' of a story.

Non-fiction writing Traditional nonfiction (journalism and scholarly) is mostly information, whilst creative nonfiction presents or treats information using the tools of the fiction writer while maintaining allegiance to fact.

Poetry Poetry is a form of literary art in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, its apparent meaning. Poetry may be written independently, as discrete poems; or, may occur in conjunction with other arts, as in poetic drama, hymns, lyrics, or prose poetry. Some more specific categorizations of writing approaches and formats include: journalism, creative writing, copywriting, script/screenwriting, editing and proofreading.

Journalism Journalism is a form of writing that tells people about things that really happened, but that they might not have known about already. The journalistic style of writing is often used in the mediums of journals and magazines and 60

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newspapers, travel writing and broadcast journalism, as story features or investigative stories and/or opinion pieces such as editorials, columns or reviews. These basic principles govern journalism writing: • Get the facts. All the facts you can. • Tell your readers where you got every bit of information you put in your story. • Be honest about what you do not know. • Keep the writing clear, simple and concise.

Creative writing A creative writer requires the skills of dialogue, action and description and should know how to balance these elements whilst introducing mood, tension and scene changes in their writing. Specialists in creative writing can apply their talent to crafting a short story and/or novel, literary short and flash fiction, poetry, and children's stories. Types of creative writing include: Short story A short story is a work of fiction that is usually written in prose, often in narrative format and often deals with a single episode and single character. It begins as close to a conclusion as possible and grabs the reader in the very first moments. The writer seeks to conserve characters and scenes, by e.g. focusing on just one conflict and driving towards a sudden and unexpected revelation. Word count is approx. 2 000 to 10 000 words. Novel A novel is a book of fictional prose narrative that usually has a plot that unfolds by actions, dialogue and thoughts of varied characters. Word count is approx. 40 000 + words. Novella A novella (also called a short novel) is a written, fictional, prose narrative usually longer than a novelette but shorter than a novel. A novella often concentrates on character study. Word count is approx. 17 500 to 40 000 words. Novelette A novelette is a piece of short prose fiction. The distinction between a novelette and other literary forms is usually based upon word count, with a novelette being longer than a short story, but shorter than a novella.

Copywriting Copywriting is the art and science of writing words to promote a product, a business, a person or an idea; and carefully selecting, editing, weaving and constructing words in a way that will persuade the reader into taking a

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specific and measurable action. The skill of copywriting is usually associated with diverse industries seeking to market and promote their product for sales purposes.

Scriptwriting/Screenwriting A script/screenwriter is someone who writes scripts for mass media such as speeches, plays, films, broadcast visual and audio dramas, and video games. Thus, the writer has the ability to creatively transform a message or story into both a written and visual context that will be performed by live actors and, at the same time, adhere to a traditional three-act structure and strict formatting rules insofar as master scenes, action and dialogue. This profession is often practiced on a freelance basis.

Editing & Proof-reading A proof-reader reads a copy or proof of writing for purposes of error detection and correction. Editing work demands for the persistent consideration of who, what, when, where, why, and how when reading content. A piece of writing is often edited and thereafter proof-read by a party outside of the author.

Publishing Publishing is more than printing your book. It is the making of a product, which needs to be refined and well-packaged, and marketed and sold. If you have a manuscript, there are several stages towards getting it into a book form, and some areas to consider before you decide to print your book. If you are self-publishing, the onus is on you to take your manuscript through all these processes and cover the costs for it, if you have a publisher, these processes are then the publisher's concerns.

Seeking a publisher For her book, The Everyday Wife, writer Phillippa Yaa De Villiers turned to a publisher: “When it came to The Everyday Wife I wanted to have a rest, I was turned down by three publishers before I asked Colleen Higgs, I should have gone to her first. She’s always been supportive. Being published by a formal publisher like Modjaji makes it possible to not always have to blow your own trumpet, [the publisher] does it, but [Colleen, founder of Modjaji] has to do it for all her authors. Also, I have to buy books from her, which cuts into the profits.”

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How to submit your manuscript Congratulations for getting this far in your writing! However, before submitting your manuscript to a potential publisher, independent publishing house Modjaji Books suggests the following: “Proof-read your manuscript, correcting spelling mistakes and bad grammar, and ensure it is neatly laid out. Ask someone you know (a good friend or family member may not be ideal, but they will most likely be willing) to read your book and give you feedback. Tell them you are looking for a critique, not a pat on the back, and need feedback on overall impression and whether there are any inconsistencies or areas of confusion, etc. Once you are happy that you’ve done the best you can, send your submission. All submissions should include a covering email and a synopsis of your book in the body of the email.” Each publishing house has their own requirements for accepting submissions of manuscripts. Check the publisher’s website to read their own specifications before submitting your manuscript.

Cover Email/Letter * The covering email/letter should include the following: • Your name and full contact details. • Your background, e.g. details of any writing you’ve had published, writing courses you’ve participated in, any personal details that are relevant to the subject matter of your book and / or work experience that is relevant to your book. • A short description of the written work. • A synopsis.

How to write a synopsis * This applies mainly to novels, but can be adapted for submission of collections of short stories or non-fiction. A synopsis is a short summary of between 500 and 1000 words, covering the plot, characters and action. It should include the following: • Genre • Word count • Story title • The main characters (capitalise character names on first mention), and their motivators • The main story or plot lines, but avoid discussing sub-plots (in novels) • The ending

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Synopses should be written in the third person, present tense, regardless of how the book is written. Try to match the tone of the book when writing your synopsis, i.e. if your book is funny, aim for a comedic note in your synopsis. Leave out dialogue, unless this is an important part of your book and you feel it will add appeal in the synopsis. * Excerpts courtesy of Modjadi books www.modjadibooks.co.za

Self-publishing Having a book of which you are the author can be a valuable marketing tool – you can have it in your bag, and give it out to influential people. But readying and printing a book is a costly process. You can get similar exposure by being published in literary journals. You can also consider publishing your writing online – there are various online platforms, some which come with small costs, some at no cost. The risk with publishing online is that your work can be copied very easily and you can’t control if the person copying your work will credit you or not. What you can do to deter this is to only publish a part of the text, and for further reading, the reader must contact you. A manuscript needs an editor. An editor will help you make the best out of your writing, which means you will have a better product. After editing, you will need to design a cover and lay out the text to be print-ready. Having an attractive and enticing book to the reader is important. A badly designed book or non-appealing cover can give off the wrong impression of what you or your work is about. It is best to find a designer to do this, someone who has been recommended or whose work you have seen and like. After designing, the book will go for printing. Printing can be done digitally or on Litho press. Litho printing will give you a cheaper price per unit, whereas digital printing will be much more costly per unit. However, digital printers normally cannot handle more than 500 units, where as it is most cost effective to print 1000 or more units with Litho printers. You should assess why you are self-publishing. If it is a promotion tool, perhaps printing fewer copies is a better option, but you will need to assess total costs, because you will not recover most of the expense in monetary form. Printing a greater number of copies on litho, at a cheaper price per unit, can mean that you could make a profit off sales of your book – but you will need to do a lot of marketing, and hands on work to sell your book. De Villiers initially published her own book, after which she published with a publisher. Of this experience she says: “For people with a high profile it makes sense to self-publish but there is still a stigma about it – a hangover from the developed world. You have to be vetted by the publishing world to be considered any good. It seems unnecessarily strict when you look at what writers and publishers are trying to do in this tiny market. I’m not so 64

See page 82 for using the internet as a sales and marketing tool.

See page 102 for copywriting and licensing options.

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good at business, I can’t give you figures but I can tell you about relationships – how to keep them and how to find new ones, that can grow possibilities if people respond to your work.” De Villiers' decision to self-publish was not a specific one, but rather an opportunity which came her way: “I didn’t choose self-publishing as much as it chose me. When I was sitting with the manuscript of Taller Than Buildings, Colleen Higgs, who I met on Crossing Borders encouraged me to apply for the Centre for the Book’s Community Publishing Grant – a great project for this country. The writer gets to take full responsibility for the book – production and distribution – for R15,000 – it might be more now. I thought of my book as currency, a passport – a way to be seen. I really pushed the book hard the first year (2007) and had a nervous breakdown at the end of the year. As a poet it was always easy to take books wherever I went and sell them at readings. I couldn’t afford a distributor and I did everything myself. I still think it wasn’t too bad, I had three print runs and sold about 1 350 books. (Well, I gave quite a few away too.) “But if you’re thinking about making money from publishing – it doesn’t add up to much. I got much more value from doing it and being invited to read at festivals here and abroad.”

ISN & BARCODES Any publishing in print and/or online has to be allocated an international standard number and code by the International Standard Number (ISN) agency, in order to identify any South African published document worldwide. ISNs for books or serials are obtainable from the ISN Agency. This service is rendered free of charge by the ISN Agency to the publishers of South Africa. Your publisher details will also be included in the publication, Directory of South African Publishers (DSAP) as well as enabling the publisher to identify and list their publications worldwide in other directories and on the internet. Contact the ISN Agency to apply for a single, or block of, ISBN: The National Library of South Africa Ms. Magret Kibido P.O. Box 397 Pretoria 0001 Phone: (012) 401 9718 E-mail: Magret.Kibido@nlsa.ac.za ISN.agency@nlsa.ac.za

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Freelancing This form of self-employment as a writer requires self-discipline, selfmotivation and passion. Often writers resort to freelance writing to either supplement an income and/or use the avenue to explore other or new career options and/or build their resume to advance their career. A freelance writer should register with a viable and researched freelance organisation, jobsites, directories and emailing prospects in order to market themselves and thus receive potentially fruitful contracts. Other ways in which to promote yourself include: • Have a portfolio e.g. website or blog that showcases your work, gives people information about you and how you work and that gives your contact details. • Prepare a good resume and link to it from your website or blog, or email it to relevant people, post it on job sites . • Your website or blog should be dynamic (regular content updates for repeat visitors) and interesting (keep visitors on your site for longer). • List yourself in business directories both online and offline (depending on your budget of course, but many directories are free to list with). • Meet with people in the real world: fellow writers, friends, colleagues and become visible. • Attend writing workshops, conferences, literary festivals or gatherings of people in your industry or field of interest so you can mingle with your peers and talk about what you do and how you can help others.

What to charge as a freelance writer? Some people charge per word or on an hourly rate depending on the type of work. In this case, try to make a realistic prediction of how long it will take to perform a specific writing job and then quote on this. Also consider your flexibility, the type of client, what competitors are charging, your business cost requirements as well as your qualifications and experience.

See page 82 for using the internet as a sales and marketing tool.

See

page 79 for lists of literary festivals in South Africa.

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IN CONVERSATION WITH Phillippa YAA de Villiers For as long as I can remember I was always writing poems and stories but without the confidence to really embark on a creative career in writing. I knew always that I’d have to sacrifice for my dream. Putting myself through theatre school in Paris gave me a lot of confidence because it showed me I could pull it off, I had the determination and the will - it took a lot of discipline to stay there for two years. I came back to South Africa in 1991 and got into acting – had some great gigs.

WORK During a production of ‘For Colored Girls...’ – Fatima Dike told me I was the hardest working actress on stage – not the most talented, but the hardest worker. Kind of a tough compliment but Photo by Pervaiz Khan it is the truth in many ways. I have never allowed other peoples’ assessment of my talent stop me. So, I’ve got little talent – what counts more is that I make it work for me. I got into improvisation and street theatre and went back to university and studied scriptwriting and got into writing for TV. TV demanded discipline and I got used to churning out lots of different types of scripts – drama, soap and edutainment. In the 90s I couldn’t really work out what I wanted to say, because it was all caught up with a hell of a complicated life story that was riddled with untruths. The more I wrote it, the more complicated it became. Then I got the best job of my life: working for the Theodora Foundation as a hospital clown from 2004 - 2007. It put me in weekly contact with people whose reality was literally so painful, it made me so aware of what I could give to distract them momentarily, it was immensely humbling and made me see what I do as a service rather than a career. That has stayed with me through all the other things I’ve done. My adoptive mother said if you’re going to spend a minimum of 8 hours a day doing a job, try to make it one that you enjoy. So acting taught me about being resilient, about rejection. Nobody likes to be told that their idea sucks and that’s the biggest challenge working in TV. Even if in two weeks' time your idea comes out of your producer’s mouth as if he thought of it himself, you can’t let that get to you. Opportunities to work on projects like 'Soul City' with Greg Latter as head writer and 'Tsha Tsha' with Charlie Sapadin gave me tons of structure and real practice at making stories. I haven’t learnt much from 'the literature industry’. There are only few writers who get to ‘just write’, everyone’s got a sideline, a lifeline. Literature seems to me to be a cross between an ivory tower and a spaza shop – world class, but with no real money. I haven’t written a TV script without a contract. I wrote a short film once, still dealing with the secrecy of my adoption and family secrets in general. 67

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I want to re-publish Taller than Buildings as an e-book and I’m really interested in sound at the moment. I’m collaborating with a sound artist on some poems and my next book will be an audio cd as well as text.

TEACHERS I think all artists go to find their teachers as they discover their material and the means of working with it. Being in a circle of strong women poets: Lebo Mashile, Napo Masheane, Myesha Jenkins and Makhosazana Xaba and more recently Natalia Molebatsi and Raphael d’Abdon has influenced me a lot, because they’ve told me what they like in my work. I think it’s always helpful to have a circle of peers who you can share your work with before you expose it to the public. John Lindley, my first official mentor on Crossing Borders, was brilliant because he honoured my voice. He realized that I had a big story to deal with and never tried to make me sound like anyone else, rather letting me dictate my process – I wanted to explore classical forms like sonnets and villanelles and he helped me to do that in a very organic way. Keorapetse Kgositsile, the National Poet Laureate, has been more of a mentor in other ways. When I was approached by Isabel Ferrin-Aguirre who organised the Berlin Poesiefestival, to join her and Xiao Kaiyu to make an anthology of African poetry to be translated into Mandarin, I asked Kgositsile if he’d be interested in the project. He refused when he heard the time lines – then we managed to get the sponsor to give us more time. In this way he helped all of us to deliver a much better, more considered work in No Serenity Here. I guess I’ll always want to have someone who’s older and more experienced in my life, along with my teachers who are younger and braver than I’ll ever be – like Napo, Lebo, Thabiso Mohare and Matthew Mokoena.

REPUTATION It’s funny you talk about reputation – I think this is the first year where I’ve had people come up to me and offer me work based on my reputation. I always feel like I’m starting from scratch with nothing. What I love about freelancing is that I’ve had tons of time with my son: afternoons, homework, going to Ellis Park pool for a swim, kicking a ball around. I’ve chosen to invest in that relationship – I’ve really enjoyed being part of this boy’s childhood. The tough thing is that sometimes you’re broke, your car can’t get fixed and the kid doesn’t have all the cool toys. Then we have to discuss and see what’s possible, and we have learnt together to be grateful for what we have. Napo and Lebo have often chided me for working for peanuts but sometimes if that’s all they’re offering, you have to take it. Mostly now I try to make sure it’s at least worth more – I’m meeting a new audience, making more contacts. * Constructed from an interview with Phillippa Yaa De Villiers conducted by Rucera Seethal, November 2011.

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CONTRIBUTORS Phillippa Yaa de Villiers

Studying journalism at Rhodes with the hidden desire to be an actor, Phillippa Yaa De Villiers took herself to the Jacques Lecoq School in Paris. She worked as an actor until she got Bell’s Palsy, which limited her because it affected her looks. She continued to participate in street theatre, was a member of Gauteng Theatresports and went back to university to study scriptwriting. She worked in scriptwriting for TV for eight years and in 2005, won a mentorship with English poet John Lindley through the British Council/Lancaster University’s distance learning scheme 'Crossing Borders.' She wrote 'Where the Children Live' (a two-hander play) which was the runner up best writer award and won the audience award at the National Festival of Play Readings, before publishing her first collection of poetry Taller than buildings (2006), which was followed by 'Original Skin' (2008), a one-woman play based on her life story. She contributed to the anthology of South African birth stories, Just Keep Breathing, published by Jacana with her story 'A thousand births' (2008) and won the Writing Beyond the Fringe/de Buren competition with her short story 'The Day That Jesus Dropped the Tall' (2009). In the same year her short story 'Keeping Everything The Same' was shortlisted for the Pen Studinski Prize. In 2010 she released her second collection, 'The Everyday Wife' and co-edited an anthology of African poetry translated into Mandarin, 'No Serenity Here.' She was editor of the South African contribution to Megaphone, a journal initiated and edited by Juliana Spahr and Stephanie Young out of Mills College. Her work is in anthologies and journals from Poui to Edinburgh Review, and the online journals The Canopic Jar, Shine and Incwadi. In 2011 she contributed to 'Letter to South Africa: Poets Call the State to Order.'

COLLEEN HIGGS Colleen Higgs is a writer and guerilla publisher with the hope of one day being able to say “I am an established independent publisher”. Higgs has had poems, stories, reviews, journalism and critical articles published in anthologies, magazines, journals and online over the past 18 years. She's also written and published three of her own books, and published three books by other writers. She was born in Kimberley, and has lived in Welkom, Wepener, Maseru, East London and Johannesburg. She spent a year as an exchange student in Iowa, USA. Higgs has worked as a teacher, a teacher-trainer, a material's writer and an academic development lecturer. For over seven years she worked at the Centre for the Book, where amongst many other things she managed the awardwinning Community Publishing Project, which included writing A Rough Guide to Small-Scale and Self-Publishing, and championing small publishing in South Africa. With Maire Fisher she co-edited The South African Small Publishers Catalogue. It was launched in time for the first Cape Town Book Fair in 2006. In 2007 she started the small, independent press, Modjaji Books, which, for now, publishes the work of Southern African women. Her first collection of poems, Halfborn Woman was independently published in 2004 under the imprint Hands-On Books.

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RESOURCES ORGANISATIONS: Business Arts South Africa (BASA) www.basa.co.za Centre for the Book Phone: 021 423 2669 www.nlsa.ac.za Congress of South African Writers Association (COSAW) Phone: 011 838 2893 Dramatic, Artistic and Literary Rights Organisation (DALRO) www.dalro.co.za Pan South African Language Board (PanSALB) www.pansalb.org.za Publishers’ Association of South Africa (PASA) www.publishsa.co.za/ South African Book Development Council www.sabookcouncil.co.za South African Writers Network (SAWN) www.sawn.co.za South African Scriptwriters’ Association (SASWA) Phone: 011 838 8848 The Writers’ Guild of South Africa www.writersguildsa.org/

FURTHER INFO

(Books, audiovisual resources and links to other resource lists: Book Southern Africa www.bookslive.co.za 70

Chimurenga www.chimurenga.co.za Herbert, D 2001, ‘Literary Places, Tourism and the Heritage Experience’ Annals of Tourism Research, Elsevier Science Ltd: Great Britain. www.hyut.net/admin/files/literary%20 places,%20tourism%20and%20 the%20heritage%20experience.pdf Independent Publishers Network Programme www.scribd.com/doc/18146977/ Independent-Publishers-NetworkProgramme Keuris, M 1996, The play: A manual , Pretoria: JL van Schaik Publishers. Marshal, N 2011, ‘When poetry is louder than a bomb’ How youth drive change’, The UNESCO courier, vol. 64, 3. unesdoc.unesco.org/ images/0019/001937/193773e.pdf Jefferson, A , Forgacs, D & Robey, D (eds) 1982, Modern literary theory: A comparative introduction, London: Batsford.

South African Book Development Council 2007, Factors influencing the cost of books in South Africa, South Africa. www.saccd.org.za/objects/sabdc_ cost.pdf Stellenbosch Literary Project www.slipnet.co.za/ Timbila Poetry Project www.timbilapoetry.blogspot.com/ The Writer’s Bureau www.writersbureau.com/video.htm UNESCO: Training of Media Professionals portal.unesco.org/ci/en/ev.phpURL_ID=24220&URL_DO=DO_ TOPIC&URL_SECTION=-465.html Wainwright, J 2002, Poetry: The basics - J Wainwright, Routledge Weate J 2011, ‘Situation is critical’ The Chimurenga Chronicle: Chronic Books, Cape Town: Chimurenga. www.chimurenganewsroom.org. za/?p=2979

New Contrast www.newcontrast.net

Webster, R 2009, Studying literary theory: An introduction, London: Edward Arnold.

Professional Editors’ Group www.editors.org.za/publications.asp

WordsEtc. www.wordsetc.co.za

Seldon, R 2005, A reader’s guide to contemporary literary theory, Brighton: The Harvester Press. South African Book Development Council, National Survey into the Reading & Book Reading Behaviour of Adult South Africans. www.saccd.org.za/objects/sabdc_ reading.pdf

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BOOKSHOPS NATIONWIDE STORES CNA www.cna.co.za Exclusive Books www.exclus1ves.co.za/stores/ Juta Bookshop www.juta.co.za

Kalk Bay Books Majestic Village, 124 Main Road, Kalk Bay Phone: 021 788 2266 www.kalkbaybooks.co.za Ulrich Naumann Bookshop 15-19 Berg Street, City Centre Phone: 021 423 7832

Van Schaik www.vanschaik.com

Wordsworth Books Shop 7103 , Victoria Wharf, V&A Waterfront, Cape Town Phone: 021 425 6880 www.wordsworth.co.za

House of Isis www.houseofisis.co.za

Johannesburg

CAPE TOWN Bargain Books 3 Picbel Parkade, Corner of Waterkant Street and Strand Street Phone: 021 421 7391 www.bargainbooks.co.za The Bay Bookshop B6 Mainstream Centre, Hout Bay Phone: 021 790 9009 Cape Quarter, Green Point, Phone: 021 421 1301 www.baybookshop.co.za BIBLIOTEQ 30 Hudson Street, De Waterkant Phone: 021 425 6582 www.bibliotecqbooks.com The Book Lounge 71 Roeland Street , Gardens Phone: 021 462 2425 www.booklounge.co.za Clarkeâ&#x20AC;&#x2122;s Bookshop 211 Long Street, City Centre Phone: 021 423 5739 www.clarkesbooks.co.za

Bookshelf 207 Earls Court, 2nd Ave, Killarney Phone: 011 646 8389 www.bookshelf.co.za Tall Stories - Fine Books For Discerning People Shop 12, Irene Village Mall, Phone: 012 662 2829 www.tallstoriesbookshop.com Outer Limits Phone: 011 482 3771 www.outerlimits.co.za Booktalk Hyde Square, Jan Smuts Avenue, Hyde Park, Sandton Phone 011 325 2266 www.booktalk.co.za

Lohmiller K & P Cresta Shopping Centre, Beyers Naude Drive, Cresta Phone: 011 478 1106 Xarra Books Constitution Court, Visitor Centre, 55 Hospital Street, Braamfontein Phone: 011 403 0947 www.xarrabooks.com Magz Phone: 011 447 4219 Pickwicks Books 37 4th Avenue, Parkhurst Phone: 011 788 6907 Facts & Fiction 144 Hendrik Verwoerd Drive, Phone: 011 789 5555 Titles 5 Grafton Ave, Craighall Park, Phone: 011 880 9634 Real Books 137 Smit Street, Braamfontein Phone: 011 403 3700 Bookdealers of Greenside 127 Greenway Road, Village Green Centre, Greenside Phone: 011 486 3995

Listeners Library Hyde Square, Jan Smuts Avenue, Phone: 011 325 2266 www.listenerslibrary.com Picsie Books Parkwood Mansions, 144 Jan Smuts Ave, Parkwood Phone: 011 880 3843

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GENERAL information & resources

2.1 LISTS FURTHER EDUCATION MUSIC Artist in Residency Programme www.africacentre.net/artist-inresidency-programme The Wits School of Arts, Witwatersrand University www.wits.ac.za/wsoa/dramaticart/8811/dramatic_art.html University of South Africa (UNISA) www.unisa.ac.za University of Stellenbosch www.academic.sun.ac.za/music/ programmes.html

The South African School of Film, Television & Dramatic Art www.filmdramaschool.co.za

The Sober&Lonely Institute for Contemporary Art www.soberandlonely.org

University of South Africa (UNISA) www.unisa.ac.za

The Wits School of Arts, Witwatersrand University www.wits.ac.za

Big Fish School of Digital Filmmaking www.bigfish.org.za Wits University: BA Honours in Drama and Film degree. www.wits.ac.za Pretoria Technikon: Film & Television School www.tut.ac.za

UWC Centre for Performing Arts www.uwc.ac.za

VISUAL ARTS

Cape Peninsula University of Technology www.cput.ac.za

Artist in Residency Programme www.africacentre.net/artist-inresidency-programme

SA College of Music at the University of Cape Town www.uct.ac.za/depts/sacm/

Assemblage www.assemblage.co.za

FILM AFDA www.afda.co.za/ Boston Media House www.boston.co.za City Varsity Film and Television and Multimedia School www.cityvarsity.co.za Newtown Film & Television School Phone: 011 838 7462 E-mail: nftsdir@sn.apc.org

Cape Town School of Photography www.ctsp.co.za Bag Factory Artistsâ&#x20AC;&#x2122; Studios www.bagfactoryart.org.za/ Photographic Society of South Africa: Clubs in Gauteng www.pssa.co.za Photographic Society of South Africa www.pssa.co.za Ruth Prowse School of Art www.ruthprowse.co.za Spier Arts Academy Phone: 021 465 9029 www.spierartsacademy.co.za

University of South Africa (UNISA) www.unisa.ac.za Michaelis School of Fine Arts, University of Cape Town www.michaelis.uct.ac.za/ UJ Arts Centre at the University of Johannesburg www.uj.ac.za/EN/artsacademy

PERFORMING ARTS Artist in Residency Programme www.africacentre.net/artist-inresidency-programme Artscape Theatre Centre www.artscape.co.za Campus of Performing Arts (COPA) www.copasa.co.za Gordon Institute for Performing and Creative Arts (GIPCA), University of Cape Town www.gipca.uct.ac.za UWC Centre for Performing Arts www.uwc.ac.za Sibikwa Community Arts Centre www.sibikwa.co.za/training.html South African National Circus School www.sacircus.com

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Stagedoor Showbusiness Academy www.stagedoor.co.za

Dance Umbrella www.danceumbrella.co.za

Technical Production Services Association www.tpsa.co.za

Dance Directory www.dancedirectory.co.za

The South African School of Film, Television & Dramatic Art www.filmdramaschool.co.za Tshwane University of Technology www.tut.ac.za The Waterfront Theatre School www.waterfronttheatreschool.co.za The Wits School of Arts, Witwatersrand University www.wits.ac.za University of Johannesburg Arts Academy www.uj.ac.za UWC Centre for Performing Arts www.uwc.ac.za Zip-Zap Circus School www.zip-zap.co.za/

DANCE Artist in Residency Programme www.africacentre.net/artist-inresidency-programme Cape Dance Company (CAPA) www.capedancecompany.co.za/ Cape Town City Ballet www.capetowncityballet.org.za/ Cape Town Vaudeville Supper Club www.vaudeville.co.za Dance Academy of SA www.dasa.co.za 74

Dance Forum: The Dance Space Phone: 011 492 0709/ 2033 Dance-X–treme www.dancextreme.co.za/ Flamenco Fusion Spanish Dance Academy www.flamencofusion.co.za

University of Johannesburg Arts Academy www.uj.ac.za

LITERATURE AAA School of Advertising www.aaaschool.co.za AFDA www.afda.co.za Boston Media House www.boston.co.za

Gordon Institute for Performing and Creative Arts (GIPCA), University of Cape Town www.gipca.uct.ac.za

Cape Peninsula University of Technology www.cput.ac.za

Jazzart www.jazzart.co.za

Publishing Association of South Africa www.publishsa.co.za

Katz School of Dance www.ksdance.co.za La Rosa Spanish Dance Theatre www.larosa.co.za

Random House Struik www.getsmarter.co.za/creative-writing Rhodes University www.ru.ac.za/jms/

Moving into Dance Mophatong (MIDM) www.midance.co.za

SA Writers’ College www.sawriterscollege.co.za

Remix Dance Company www.remixdanceproject.co.za

University of Cape Town’s Centre for Creative Writing www.creativewriting.uct.ac.za

Stagedoor Showbusiness Academy www.stagedoor.co.za The Dance Factory www.newtown.co.za Tshwane University of Technology www.tut.ac.za University of Cape Town School of Dance www.dance.uct.ac.za

University of Johannesburg: Department of Communication www.uj.ac.za University of South Africa (UNISA) www.unisa.ac.za/default.htmlp

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FUNDING & BURSARIES MUSIC Art Moves Africa www.artmovesafrica.org Business Arts South Africa (BASA) www.basa.co.za National Lottery Distribution Trust www.nlb.org.za Samro Endowment Trust for the Arts http://www.samro.org.za ACT Dalro Performing Arts Scholarships www.act.org.za/programmes_scholarships.htm National Arts Council (NAC) www.nac.org.za/funding Visual Arts Network of South Africa www.vansa.co.za/opportunities/ education

FILM Art Moves Africa www.artmovesafrica.org Arts and Culture Trust (ACT) www.act.org.za/programmes_festival_bla.htm Business Arts South Africa (BASA) www.basa.co.za

National Arts Council www.nac.org.za/funding/multidiscipline National Film and Video Foundation (NFVF) nfvf.co.za/funding National Lottery Distribution Trust Fund (NLDTF) www.nlb.org.za Open Society Foundation for South Africa www.osf.org.za/Applications/ default.asp SA Film www.safilm.org.za/organisations/ finance.html

Business Arts South Africa (BASA) www.basa.co.za National Arts Council (NAC) www.nac.org.za National Lottery Distribution Trust Fund (NLDTF) www.nlb.org.za Performing Arts Network of South Africa (PANSA) http://www.pansa.co.za/opportunities

VISUAL ARTS Art Moves Africa www.artmovesafrica.org

The Soros Documentary Fund www.soros.org

Arts and Culture Trust (ACT) www.act.org.za

The Callsheet www.thecallsheet.co.za/opportunities

Artreach Fund www.ava.co.za

Visual Arts Network of South Africa www.vansa.co.za/opportunities/

Business Arts South Africa (BASA) www.basa.co.za

PERForMING ARTS ACT Dalro Performing Arts Scholarships www.act.org.za/programmes_scholarships.htm Art Moves Africa www.artmovesafrica.org Arts and Culture Trust (ACT) www.act.org.za Artscape Technical Training Academy www.artscape.co.za/technicaltraining

Ifa Lethu Foundation www.ifalethu.org.za MDDA www.mdda.org.za National Arts Council (NAC) www.nac.org.za National Lottery Distribution Trust Fund (NLDTF) www.nlb.org.za Photographic Society of South Africa www.pssahonours.com/index.html Rafiki Arts Trust www.trianglenetwork.org/partners/ rafiki

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Spier Arts Academy Phone: 021 465 9029 www.spierartsacademy.co.za VANSA www.vansa.co.za/opportunities/ funding

LITERATURE Art Moves Africa www.artmovesafrica.org MAPPP-SETA www.mappp-seta.co.a MDDA www.mdda.org.za National Arts Council (NAC) www.nac.org.za National Lottery Distribution Trust Fund (NLDTF) www.nlb.org.za Open Society Foundation for South Africa www.osf.org.za

French Institute www.ifas.org.za Goethe Insitut www.goethe.de/johannesburg Prince Clause Foundation www.princeclausfund.org Pro Helvetia www.prohelvetia.org.za/ South African Heritage Resources Agency Phone: (021) 462 4502 Triangle Art Trust www.trianglearts.org * Bursary opportunities are often available by request from and dictated by an institution. For information on other bursary opportunities, make contact with the respective institution/s you are interested in attending!

AWARDS & COMPETITIONS MUSIC The Impact Awards www.act.org.za/programmes_ awards.htm International Songwriting Competition www.songwritingcompetition.com MDDA/Sanlam Local Media Awards www.mdda.org.za PanSALB Multilingualism Awards Email: communication@pansalb. org.za Red Bull Can Make Music Competition www.redbullcanmakemusic.com/ home.php South African Championships of Performing Art www.beyond2000.co.za

SUPPORTIVE ORGANISATIONS: ALL DIScIPLINES

Standard Bank Young Artists Award www.standardbankgallery.co.za

Alliance Francaise www.alliance.org.za

FILM

Department of Arts and Culture www.dac.gov.za/funding.html

The Callsheet www.thecallsheet.co.za/opportunities

Distell Foundation www.distell.co.za

Vuka! PSA Awards vuka.mnet.co.za

British Council www.britishcouncil.org/southafrica

National Film and Video Foundation (NFVF) nfvf.co.za/funding

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PanSALB Multilingualism Awards Email: communication@pansalb. org.za South African Film & Television Awards (SAFTA) www.saftaregistration.co.za/

PERFORMing ARTS The Impact Awards www.act.org.za Naledi Theatre Awards www.naleditheatreawards.org.za South African Championships of Performing Art www.beyond2000.co.za Spier Contemporary Competition www.spiercontemporary.co.za

SANCTA Festival Poster Competition www.sancta.org.za/art.htm Sasol New Signatures www.sasolsignatures.co.za Spier Contemporary Competition www.spiercontemporary.co.za Standard Bank Young Artists Award www.standardbankgallery.co.za Thami Mnyele Fine Arts Competition Contact the Visual Arts Curator: Phone: 011 391 4006/7 or 011 391 6273 Visible Spectrum Awards www.sasc.co.za

Penguin Prize for African Writing www.penguinbooks.co.za/africanwinners/ Science Fiction/Fantasy South Africa Short Story Competition www.sfsa.org.za South African Writers’ Circle: Short Story Competition sawriters.org.za/live/competitions/ annual-competition.html Sunday Times Literary Awards www.timeslive.co.za

FESTIVALS

Vuka! PSA Awards vuka.mnet.co.za

MUSIC

VISUAL ARTS

Vuleka Art Competition www.artb.co.za

ABSA Klein Karoo National Arts Festival www.kknk.co.za

ABSA l’Atelier Competition www.absalatelier.co.za

LITERATURE

African Hip Hop Indaba www.africanhiphopindaba.co.za

The Citizen Book Prize E-mail: bookprize@citizen.co.za www.citizen.co.za

Afrikaanse Music Festival www.whatson.co.za

Ekhureleni National Fine Arts Awards Contact the Visual Arts Curator: Phone: 011 391 1006/7 or 011 921 – 2064 Fujifilm Photographic Awards competitions.fujifilm.co.za/ The Impact Awards www.act.org.za PanSALB Multilingualism Awards Email: communication@pansalb.org.za PPC Cement Young Concrete Sculpture Award www.ppc.co.za/pages/cement_ycsMew.cfm

Maskew Miller Longman Literature Awards www.mml.co.za/literature-awards MDDA/Sanlam Local Media Awards www.mdda.org.za PanSALB Multilingualism Awards Email: communication@pansalb. org.za PEN/Studzinski Literary Award www.sapen.co.za/

Arts Alive International Festival www.artsalive.co.za Cape Town Festival www.capetownfestival.co.za Cape Town International Jazz Festival www.capetownjazzfest.com Di Konokono Arts and Culture Festival www.eisteddfod.co.za

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Diamonds & Dorings Music Festival Phone: 053 8327298 Macufe Mangaung African Cultural Festival www.macufe.co.za Moshito www.moshito.co.za National Arts Festival www.nafest.co.za Old Mutual National Choir Festival www.oldmutual.co.za/about-us/ sponsorship/arts-and-lifestyle/ national-choir-festival.aspx Obs Arts Festival obsarts.org.za Oppikoppi Music Festival www.oppikoppi.co.za

FILM Apollo Film Festival Contact Petrus Martens Phone: 079 397 3876 Durban International Film Festival www.cca.ukzn.ac.za Encounters www.encounters.co.za Film Contact www.filmcontact.com/events National Arts Festival www.nafest.co.za Obs Arts Festival obsarts.org.za/ Screen Africa www.screenafrica.com

Rocking the Daisies www.rockingthedaisies.com Splashy Fen www.splashyfen.co.za Standard Bank Joy of Jazz www.joyofjazz.co.za International Chamber Music Festival academic.sun.ac.za/chambermusicfestival/ The Pan African Space Station www.panafricanspacestation.org.za/ Uplands Festival www.uplands-festival.co.za/ Woodstock Festival www.woodstock.co.za

PERFORMING ARTS

Infecting the City www.africacentre.net/infecting-thecity Macufe Mangaung African Cultural Festival www.macufe.co.za National Arts Festival www.nafest.co.za Obs Arts Festival obsarts.org.za Out The Box International Festival of Puppetry & Visual Performance www.outtheboxfestival.com/aboutthe-festival/ Spier Contemporary www.spiercontemporary.co.za Spier Summer Arts Festival www.spier.co.za Suidoosterfees Arts Festival www.suidoosterfees.co.za

Aardklop Arts Festival www.aardklop.co.za

VISUAL ARTS

ABSA Klein Karoo National Arts Festival www.kknk.co.za

29 Eastcape International Salon of Photography www.pssa.co.za

Arts Alive International Festival www.artsalive.co.za

Aardklop National Arts Festival www.aardklop.co.za

Cape Town Festival www.capetownfestival.co.za

ABSA Klein Karoo National Arts Festival www.kknk.co.za

Darling Voorkamerfest www.voorkamerfest-darling.co.za JOMBA! Contemporary Dance Experience www.cca.ukzn.ac.za

Arts Alive International Festival www.artsalive.co.za Di Konokono Arts and Culture Festival www.eisteddfod.co.za

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Infecting the City www.africacentre.net/infecting-thecity Knysna Nederburg Art Experience knysna.tourism@pixie.co.za Kuns Uniek www.kunsuniek.co.za Macufe Mangaung African Cultural Festival www.macufe.co.za National Arts Festival, Grahamstown www.nafest.co.za Obs Arts Festival obsarts.org.za/

Franschoek Literary Festival www.flf.co.za/ National Arts Festival www.nafest.co.za/wordfest Obs Arts Festival www.obsarts.org.za/ Open Book Festival www.openbookfestival.co.za Poetry Africa www.cca.ukzn.ac.za Time of the Writer www.cca.ukzn.ac.za Wordfees www.woordfees.co.za

Sancta Festival www.sancta.org.za/festivals.htm Spier Contemporary www.africacentre.net/spier-contemporary

RETAIL OUTLETS

Spier Summer Arts Festival www.spier.co.za

ART MATERIALS CAPE TOWN

Suidooster Arts Festival www.suidoosterfees.co.za

Art Shops Online www.artshopsonline.com

Uplands Festival www.uplands-festival.co.za/

Fabulous Art www.fabulousart.co.za

LITERATURE Arts Alive International Festival www.artsalive.co.za Badalisha Poetry Festival www.africacentre.net/badilishapoetry-x-change Jozi Book Fair www.jozibookfair.org.za/

Janineâ&#x20AC;&#x2122;s Online Art Shop www.onlineartshop.co.za The Deckle Edge www.deckleedge.co.za

The Framed Feather Phone: 021 949 8419 www.theframedfeather.co.za the write shoppe 021 785 7614 www.thewriteshoppe.co.za Red Balloon Craft Junction www.redballoon.co.za

Art Book Centre CC Phone: 011 883 5304 Ashley & Radmore (Pty) Ltd 16/20 Blumberg St, Industria West Phone: 011 474 9068 Parker Craft 159 Greenvale Road, Meadowbrook, Phone: 011 455 6810 Showbiz Beyers Naude Drive, Cresta Shopping Centre, Cresta

Art Source www.artsource-ct.co.za Mercurius South Africa Phone: 021 715 8357 Stockmar South Africa Phone: 021 715 8357 79

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JOHANNESBURG Beyond It Phone: 011 447 4893 Cameraland Shop 4, The Colloseum, Commissioner Street 80

D and P Services: The Professional Choice 1st Fl Fine Art Centre, 105 Pritchard St Eco-pine Union Square, 80 Plein Street G and L Agencies 98 Langwa Street Phone: 011 792 1097 Koping B & Zabludowsky RG Tempo Shopping Centre Med-Mac Services Phone: 011 432 3545

The Bay Bookshop B6 Mainstream Centre, Hout Bay Phone: 021 790 9009 Cape Quarter, Green Point, Phone: 021 421 1301 www.baybookshop.co.za BIBLIOTEQ 30 Hudson Street, De Waterkant Phone: 021 425 6582 www.bibliotecqbooks.com The Book Lounge 71 Roeland Street , Gardens Phone: 021 462 2425 www.booklounge.co.za

Mikroplan Interiors and Shopfitters 18 Webber St., 1st Floor Barrow House Selby

Clarkeâ&#x20AC;&#x2122;s Bookshop 211 Long Street, City Centre Phone: 021 423 5739 www.clarkesbooks.co.za

BOOKSHOPS NATIONWIDE STORES

Kalk Bay Books Majestic Village, 124 Main Road, Kalk Bay Phone: 021 788 2266 www.kalkbaybooks.co.za

CNA www.cna.co.za Exclusive Books www.exclus1ves.co.za/stores/ Juta Bookshop www.juta.co.za Van Schaik www.vanschaik.com House of Isis www.houseofisis.co.za

CAPE TOWN Bargain Books 3 Picbel Parkade, Corner of Waterkant Street and Strand Street Phone: 021 421 7391 www.bargainbooks.co.za

Ulrich Naumann Bookshop 15-19 Berg Street, City Centre Phone: 021 423 7832 Wordsworth Books Shop 7103 , Victoria Wharf, V&A Waterfront, Cape Town Phone: 021 425 6880 www.wordsworth.co.za

Johannesburg Bookshelf 207 Earls Court, 2nd Ave, Killarney Phone: 011 646 8389 www.bookshelf.co.za Tall Stories - Fine Books For Discerning People Shop 12, Irene Village Mall, Phone: 012 662 2829 www.tallstoriesbookshop.com

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Outer Limits Phone: 011 482 3771 www.outerlimits.co.za Booktalk Hyde Square, Jan Smuts Avenue, Hyde Park, Sandton Phone 011 325 2266 www.booktalk.co.za Listeners Library Hyde Square, Jan Smuts Avenue, Phone: 011 325 2266 www.listenerslibrary.com Picsie Books Parkwood Mansions, 144 Jan Smuts Ave, Parkwood Phone: 011 880 3843 Lohmiller K & P Cresta Shopping Centre, Beyers Naude Drive, Cresta Phone: 011 478 1106 Xarra Books Constitution Court, Visitor Centre, 55 Hospital Street, Braamfontein Phone: 011 403 0947 www.xarrabooks.com Magz Phone: 011 447 4219 Pickwicks Books 37 4th Avenue, Parkhurst Phone: 011 788 6907 Facts & Fiction 144 Hendrik Verwoerd Drive, Phone: 011 789 5555 Titles 5 Grafton Ave, Craighall Park, Phone: 011 880 9634 Real Books 137 Smit Street, Braamfontein Phone: 011 403 3700

Bookdealers of Greenside 127 Greenway Road, Village Green Centre, Greenside Phone: 011 486 3995

CASTING AGENCIES Action Film Faces www.actiondirect.co.za Big Talk Entertainment www.bigtalk.co.za Central Casting www.centralcastings.co.za Good Hope Casting Agency www.goodhopecasting.co.za Kayos Casting Directors www.kayos.co.za/ Limelite Casting www.limelitecasting.com/home.html Looks Casting Agency www.looks.co.za/ Mother City Xtras www.mcxsa.com Noir Models www.noirmodels.co.za Original Cape Talent www.originalcapetalent.co.za/ Shine Studios www.shinegroup.com Starlightz Casting www.starlightzcasting.com Star Media Casting www.StarMediaCasting.co.za 81

2.2 COMMUNICATIONS The Internet as a sales and marketing tool Online Portfolio 1) You can either set up your own website from scratch if you are familiar with HTML coding or have a web-designer and hosting company do it for you, though this can be a costly solution. 2) Or use a template based system such as Wordpress or Joomla which are blogging tools. Joomla is more versatile, but with a steeper learning curve required to make your website.

Further reading: The Guy from Erie gives some lessons on wordpress: • Word press for beginners part 1 (How do I get started) www.youtu.be/jJoodIiuy5I • Word press for beginners part 2 (Writing and Publishing Your First Article) www.youtu.be/LfUfVu0OW4M • Word press for beginners part 3 (Adding Photos to Your Posts) www.youtu.be/UoYVRSuP-JE • Word press for beginners part 4 (Adding Videos to Your Posts) www.youtu.be/PZYi2wPZHRQ Wikihow has an extensive list of tutorials on this. Go to www.wikihow.com/Category:Wordpress 3) There are also many free public portfolio-hosting sites which can host your portfolio. Here are some options, but do ask within your network to hear what other artists are using and happy with.

Krop (www.krop.com/creativedatabase/) is aimed at professionals seeking work. The free version offers a 10-image-limit free version, and it has a job board (which unfortunatly doesn't carry job listings outside of the USA). It does however have a built-in thumbnail cropping tool and includes a resumé builder. Flickr (www.flickr.com/tour/#section=welcome) is a general image hosting and video hosting website, web services suite, and online community. As an html site that allows you to tag, categorise and keyword each photo, Flickr is good for Search Engine Optimization (SEO). In fact, many photographers often post photos with the very intention of grabbing the top image searchs anticipating that searchers will, through this, be directed to the photographers personal website. Carbonmade (www.carbonmade.com). Like Krop, is aimed at professionals seeking work, but the free version offers a bigger 35 image limit. Figdig (www.figdig.com) features high definition images and PDF profiles. 82

Definition:

Search engine optimization (SEO) is the process of improving the visibility of a website or a web page in search engines via the “natural” or unpaid (“organic” or “algorithmic”) search results. In general, the earlier (or higher ranked on the search results page), and more frequently a site appears in the search results list, the more visitors it will receive from the search engine’s users.

general

Further reading: • General links to many articles offering advice on creating a successful portfolio Creating a successful online portfolio www.freelanceswitch.com/freelancing-essentials/creating-online-portfolio/ • “Websites for Artists: Creating your Online Profile” ArtBusiness.com www.artbusiness.com/webworks.html

• Photography Specifically - read it at www.luminous-landscape.com/columns/portfolio-8.shtml

POSTING YOUR WORK ONLINE

You should licence your work appropriately, so those wanting to use images downloaded from your website, are aware of what copyright exists, and what they should know if they wish to download and reproduce or link.

SELLING YOUR WORK ONLINE

The advantage of setting up your own website or blog is that you can also add sales functions to the website or blog. This can simply be by asking interested buyers to contact you via email, or you can be a bit more tech savvy and use a secure payment gateway for accepting payment by credit card. PayPal is one such solution which is now available to South African merchants to sell from their website, however in South Africa you need to be an FNB account holder to use PayPal merchant services. There is a significant enough amount of internet fraud to make internet buyers approach internet purchases with caution. This is something the seller needs to consider. It becomes the buyers prerogative to trust the seller or not. You can make it easier for them to decide to buy by clearly listing your terms and conditions of trade, by including shipping and delivery details and stating what recourse measures buyers have if they are not satisfied.

Communication Mobile networks

In South Africa at present there are five mobile networks, Vodacom, MTN, Cell C, Virgin Mobile and most recently 8ta. You need a sim card to use your mobile phone, and getting one for any of these networks is easy and very affordable. There are many mobile phone shops in most areas, and most leading chain stores sell sim-packs, which contain a sim card. It is important to note that at present, Virgin Mobile and 8ta airtime is not as easily available to purchase as the other network's airtime is. At present all mobile network users are required by a law called The Regulation of Interception of Communications Act (RICA), to register their sim cards as soon they acquire them.

See page 103 for more information on copyright. Go to www.wiki. creativecommons.org/Before_ Licensing for an introduction to copyrighting, and more information on the types of copyrights available.

PayPal is an internationally

recognized payment gateway, for a brief intro & how to setup Paypal visit www.paypal. com/webapps/mpp/merchant

Further reading:

“How Can I Sell My Music Online” New Music Strategies. www.newmusicstrategies. com/2008/04/04/how-can-isell-my-music-online/> Dubber, A 2007, New Music Strategies: The 20 Things you must know about music online.(www. newmusicstrategies.com/ ebook/)

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To register your sim card for RICA you need to provide a bar-coded ID document or passport as well as proof of residency.

Land lines Telkom public phones are generally found and in most areas, and in working order throughout South Africa. These phones take coins as payment method, but also prepaid cards, which are also regularly available for purchase at most large and small stores. Telkom also offers World Call Cards, these come in different packages, some useable outside of South Africa also. A World Call Charge Card is issued to businesses, families and individuals. A requirement for this type of World Call Card is that it must be linked to a land line to which Telkom can send bills for service. An advantage in using this card is that it comes with a PIN number which prevents unauthorized usage. The World Call Prepaid Calling Card is simple to use. One dials a toll-free access number followed by a voucher number and follow instructions from voice prompts. The Rechargeable Prepaid Calling Card enables the user to recharge without having to acquire physical or electronic vouchers. To top up airtime one has to visit any Telkom Direct Shop or purchase transaction online by registering on www.telkom.co.za. The recharge amount will be credited to the user’s card immediately. According to Telkom, this is a ‘permanent’ calling card which has the features of a credit card and can be recharged repeatedly. If a physical phone directory is unavailable one can make use of the toll free number 1023 on landlines for telephone number enquiries. One can also visit the online version on www.yellowpages.co.za.

Internet access For communication by email, one can make use of the internet cafes in your area for a fee. One can also access the internet for lower rates and make use of computers at the following centres in Cape Town: Scalabrini Centre, 47 Commercial St, Cape Town CBD Phone: 021 465 6433 www.scalabrini.org.za

Ogoni Solidarity Forum (OSF) 41 Salt River Road, Salt River Phone: 021 448 1563 www.ogoniforum.org.za

Alliance for Refugees in South Africa (AFRISA) Phone: 021 421 2348 www.afrisa-org.net Artscape Resource Centre Phone: 021 410 9952 www.artscape.co.za/resource-centre 84

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English courses The following organisations offer English courses for migrants and/refugees, or can assist in finding where these are offered:

Cape Town

Alliance for Refugees in South Africa Floor Sahara / Thibault House, Hans Stridjom Avenue, Thibault Square Phone: 021 421 2348 www.afrisa-org.net/projects.htm Agency for Refugee Education, Skills Training & Advocacy (Aresta) 22 Springbok Street, Kewtown Athlone Phone: 021 633 8762 www.aresta.org.za

Scalabrini Centre 47 Commercial Street Phone: 021 465 6317 www.scalabrini.org.za St Joseph’s Adult Education programme www.stjosephsaep.co.za

Johannesburg

Consortium for Refugees and Migrants in South Africa (CoRMSA) 5th Floor, Braamfontein Centre, 23 Jorissen Street, Braamfontein Phone: 011 403 7559 www.cormsa.org.za/contact Hotel Yeoville editor@hotelyeoville.co.za www.hotelyeoville.co.za/services/ community-directory

2.3) Business Basic financial management This chapter focuses on some basic approaches and documentation for the financial management of your business. Rushaan Toefy, a registered Accounting Officer with a B Comm., (Acc) degree and seven years experience working with start-up businesses contributed to this chapter. If you can’t communicate to a client how much money he or she needs to pay you for a goods or service, and what the terms of payment are, you run the risk of not being able to receive funds from that client, losing future business or even appearing incompetent. If you can’t reflect the financial state of your artistic production, dissemination, promotion and sales, you could find that a potential funder won’t take your application seriously and might question your ability to manage the funds which you are requesting from them. If you are unable to keep record of your stock, theft by employees could go unnoticed, and you could stand to lose money. As an artist, you have a product to make, market and sell, stock to manage, and finances to keep track of. And so, you are also an entrepreneur. It is imperative to the health and prosperity of your business to be able to see, know intimately and keep track of all of these aspects of your business. You might not feel like you have the time to – but you also do need to keep track of the financial side of your business in a professional manner such that you can communicate to relevant people – that is, using basic accounting principles and financial documents. Accounting is about keeping track of your money: how much money is coming in and how much is going out. Money coming in and out is respectively known as income and expenditure. Toefy says, before you dive into producing and selling, take the time to consider what your business goals are. Maybe you wish to earn a certain amount of money in a specific period of time, or you want to sell a specific amount of stock? Maybe you wish to be able to make the type of art you want to make without having to consider how sellable it is, but also need to earn enough money to be self-sustaining? 85

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Whatever your goals are – they are valid. Knowing what your goals are will allow you to plan a path to get there, otherwise you could be reacting to what is coming instead of creating opportunities for yourself. Keeping a record of your personal and business affairs from which you can reflect on and assess, will enable you to measure where you have been successful and where there is room for change so that you can continue towards your goals.

Keeping a record of your stock and finances: Artright Business Tool is a downloadable excel document. Its purpose is to help you better understand your financial position. It assists in comparing your income to your expenses, managing and planning your tax, as well as keeping track of your stock. It is most suited for small businesses such as sole proprietorships or close corporations, or for people who work for themselves. Artists, small galleries, art agents, independent contractors and other self-employed individuals will find this tool useful. Download it here: www.artright.co.za/artbusiness/money-management/simple-accounting/ Read through Artright's Terms & Conditions before use: www.artright.co.za/info/terms-conditions/ Generally –there are some principals to remember regarding your income, expenses and stock. You may not see the point of following these guides immediately, but if you do, you put yourself in a position at a later stage to do a range of things you might not be able to do without records of your business, such as applying for funding or a loan, selling your business, hiring staff, assessing profitability, assessing the financial health or your business in a realistic way and making informed decisions about what path to take or how to adjust your current path.

A business foundation: Open a bank account, and have the financial movements of your business occur through your bank account. That is, receive income and pay for expenses through your bank account. If your business is primarily cash based, you might find bank charges to be high for cash deposits. Speak to your bank about the type of financial activity you will be undertaking, and ask their advice on what is the best type of account to open.

Expenses: In accounting, expense has a very specific meaning. It is an outflow of cash or other valuable assets from a person or company to another person or company. Keep and file all paperwork relating to expenses. It might help you to write down and record what expenses you have incurred, but it is also important to keep the actual slips, receipts and vouchers, and file these chronologically. The expenses you need to record are all those relating to your business. This could include the canvas you buy to paint on, the airtime used to call galleries, the lunch you buy for the person taking care of your flea market stall – basically, costs which you have incurred towards making your business run.

Income: Quotes: If you are selling goods or a service you might be asked for from a prospective client, to supply a quote. If the prospective client is happy with your quote and wants to work with you, they should accept your quote in writing. This can mean that you ask them to sign the quote and return it to you, or that they email you to say that they accept your quote. Your quote should have a unique number, and the client – when accepting – should specify that unique number, so that there is not confusion as to which quote is being accepted. You need to file all quotes you have issued.

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Invoices: In order to receive payment from a client, you will need to give them an invoice. If the client has accepted your quote, and is now requesting an invoice, you should file the accepted quote with the invoice you have issued. The quotes which have not been accepted, or have not materialized into invoices, will need to be filed separately as unrealized quotes.

Receiving income: If you receive cash, you should provide documentation to the client confirming that you have received payment from them, that is, you must give them a sales or cash receipt. If payments are on a term basis – meaning, if the client pays over a period of time, say half up front, and the remaining half after you deliver the goods – you need to keep track of payments received. You can do this by attaching cash receipts to the invoice.

Making or buying stock: You need to keep track of how much money you spend to make or buy the products you are selling. This will also help you to decide on a price to sell your stock for. These costs are expenses, and you need to file them too.

Stock movement and delivery notes: Your stock has monetary value, and so you need to monitor you stock also. Keep a tight record of where your stock goes, and for how much. Even stock which you give at a reduced cost or give at no cost – this all needs to be recorded. If you store your stock, make sure you regularly check what amount of stock you have in storage, and if it matches with your records. For example, if you made 100 postcards, and you gave 10 away, and sold 30, you should have 60 postcards left. If you don’t, you need to check your stock control methods. Losing stock means losing money. You should issue delivery notes whenever you deliver your work to a client. This will help you keep track of stock movement.

Opening a bank account

The procedure for opening a bank account in South Africa relates directly to the type of permit you have been granted. Whilst on a tourist visa you are only able to open a bank account in South Africa that is classified as a non resident account. Whilst these accounts can have all the features of a normal banking account they are restrictive in so much as they cannot generally receive deposits in Rands. There are exceptions to the rule, such as if you own a property and let it out. If you are in possession of a valid permit that confirms your temporary or permanent residency status then you are able to open a bank account in South Africa which is known as a residents account. A resident’s account is in essence a ‘normal’ bank account with no special restrictions. Your Close Corporation or Pty Ltd can obtain a business account. There would be no currency restrictions in terms of Rand deposits into this account, as the company is viewed as a legal identity in its own right and would be incorporated in South Africa. When opening an account in South Africa for a Close Corporation you will be required to provide the following documentation: • Founding statement and certificate of Incorporation (Form CK1) and an Amended Founding Statement (CK2), if applicable • One of the following documents reflecting the trade name and physical business address: • An original company letterhead 87

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• Electricity or water bill • A bank statement (from another financial institution) • Lease or rental agreement • Telkom account • SARS tax return statement In addition you will be asked to provide information in respect of your source of income and the type of activities that can be expected on the account. All members, authorised signatories and any other person who may act on behalf of the closed corporation must provide the same information and documentation as stated above, as well as written confirmation that they are authorised to act on behalf of the CC. Major banking institutions in South Africa are First National Bank (FNB), Standard Bank, Nedbank, ABSA, and Capitec.

First National Bank (FNB) First National Bank (FNB) requires applicants who want to open bank accounts to bring documentation proving identity. Asylum seekers and refugees should bring their permits as well as proof of residence. The latter can take the form of a bill including residential address, a letter from employer on a letterhead showing the applicant's address or an affidavit from a police station stating one’s address. FNB is known to have some of the more competitive bank rates for savings accounts, and a very easy Online Banking interface. Their Online Banking also offers other resources like basic account keeping. General Banking Enquiries: 0860 11 22 44 / www.fnb.co.za

Standard Bank Standard Bank does not accept applications to open bank accounts from migrants or asylum seeker permits and those on refugee status. A migrant on a work permit may open a savings account only upon submission of a passport and a letter from the employer stating how long the contract is and what the salary figure is. Proof of address on a Standard Bank form and a copy of a utility bill from the landlord are required. www.standardbank.co.za

ABSA Non-nationals can open a bank account upon presentation of a valid passport and a work permit. Proof of address is required. Migrants or asylum seeker permits do not qualify but those who have refugee status are accepted. www.absa.co.za

Capitec Capitec only accepts South African citizens and foreigners with a valid passport accompanied by a permanent residence permit. In addition to this, proof of address in the form of utility bills is required.

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SAMPLE of business documentation - quote

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SAMPLE of business documentation - INVOICE

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SAMPLE of business documentation - sales receipts

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SAMPLE of business documentation - delivery note sample

DELIVERY/AFLEWERING

M PLEASE RECEIVE from ONTVANG ASB. van

in good order and condition the undermentioned Goods, viz. die ondergemelde goedere in bevredigende toestand:

Signed Geteken

2.4) Personal documentation resources Definition of a refugee According to United Nations High Commission for Refugees (UNHCR) pamphlet, ’A refugee is any person who is forced to leave their country and seek the protection of another country. The main reason for leaving their country relate to persecution because of one’s race, religion, nationality, political opinion or membership of a particular social group. The other reason relates to events seriously disturbing peace or public order such as internal conflicts, wars or serious violations of one’s human rights. A refugee is only able to go back to their country when the conditions which led to such person leaving it to begin with, no longer exist.’ Some people would argue that the term refugee should encompass even those fleeing family members intending them harm with their freedom or lives in danger. This also can extend to girls fleeing culturally forced marriages and maybe those being forced to flee because of their sexual orientation as in the case of gay people fleeing their homophobic country political administrations. According to the UNHCR pamphlet, refugees enjoy basic human rights under South Africa’s constitution, including the right: • Not to be forcibly deported from the country except as provided for under its international and national obligations • To be part of non-political and non-profit making associations and trade unions 92

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• • • • • • •

To acquire movable and immovable property To work To attend primary, secondary and tertiary education To access primary and emergency health care To be referred for further medical treatment To acquire an identity and travel document To pursue the unity of the family

Excluded are people who have committed crimes against humanity, peace, war crime and those who have committed serious non-political crime outside SA which if committed here would be punishable by imprisonment, also excluded are those who have already received protection in another country.

Refugees’ Responsibilities Refugees must respect and obey the laws and regulations of South Africa, as everyone else living in South Africa. If he or she engages in illegal activities or violate any law, they may be charged in accordance with the relevant laws of the country. To get more information on the latest amendments and enactments by Government one can subscribe to the online Government Gazette by following the link: www.greengazette.co.za/join/ Refugees have 5 days to report to a refugee reception centre. There are refugee reception offices in most provinces in South Africa:

JohannesburG: Home Affairs office that must accept all applications for asylum in Johannesburg: Diepsprodukte Building; 19 Planet Avenue Crown Mines, Johannesburg, Gauteng, South Africa. Phone: 011 226 4600 Fax: 011 226 4603/02 City of Johannesburg Migrant Help Desk assists migrants with accessing government services in Johannesburg and general advice to migrants:

C J Cronje Building 80 Loveday Street, Johannesburg, Gauteng, South Africa

Pretoria Corner DF Malan Drive and Struben Street, Pretoria West Phone: 012 327 3515 Fax: 012 327 5762

Port Elizabeth KIC 5 Sidon Street, North End Phone: 041 403 7412/13 Fax: 041 403 7433

Durban

132 Moore Street Phone: 031 362 1205 Fax: 031 362 1220

Cape Town 412 Voortrekker Road Phone: 021 380 5000 Fax: 021 421 5028

Musina

8 Harold Grenfell Street (next to Post Office) Phone: 015 534 5300 Fax: 015 534 5332

For any changes in the location of refugee reception areas please visit: http://www.home-affairs.gov.za

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Home Affairs Refugee Reception Offices Asylum seeker permit After undergoing all the required formalities at the refugee office, the applicant will be issued with an asylum seeker permit. All these services are free, and you should not be asked to pay. In the case of non-English speakers, the Refugee Reception Office can provide interpreters, if this is not possible the applicant can bring an interpreter at their own cost. An asylum seeker permit gives the holder freedom of movement around the country and entitles the holder to employment and study. It may be renewed at any Refugee Reception Office in South Africa. The duration for asylum seeker permits vary depending on the applicantâ&#x20AC;&#x2122;s case with the maximum time granted being 6 months. Usually this permit indicates that the holder must report for a second interview at a time determined by Home Affairs.

Failure to renew a permit Failure to renew a permit on time may attract penalties from Home Affairs ranging from letters of warning to hefty fines. The asylum seeker should visit the Refugee Reception Office the day after expiry to avoid being penalised. Currently the fine stands at R2,500.00 for an expired document.

Refugee status After a period of time determined by Home Affairs and through interviews by the Refugee Status Determination Officer (RSDO), the applicant may be granted Refugee Status after undergoing the second interview. Having Refugee Status will afford him or her most rights enjoyed by citizens of the country except the right to vote. A case may also be rejected as being manifestly unfounded meaning it does not have a potential refugee basis. For this the applicant will have to write a letter within 14 days to the Standing Committee where it would have been referred. If he/she is rejected, they have the right to appeal. Unless it is rejected as unfounded, then an applicant can lodge an appeal with the Refugee Appeal Board within 30 days or go through a legal practitioner.

Refugee ID Granting of refugee status is at the discretion of Home Affairs, after acquiring this status the refugee can apply for a Refugee Identity Document at the Refugee Reception Office. This will be valid for the duration of the refugee status and may be renewed prior to its expiry date.

United Nations Travel Document (UNCTD) After the acquisition of the ID book the artist may apply for a United Nations Travel Document (UNCTD) which is a refugee passport. This document allows the refugee to travel anywhere in the world (depending on visa requirements) except to their countries of origin. The processing of the ID book and the travel document is done in Pretoria and is a lengthy process taking up to a year in some cases. So it is advisable to submit an application as soon as possible.

Permanent residence After 5 years of being a continuous refugee, you may apply for permanent residence. The application may be done at a Refugee Reception Office or through a legal practitioner. 94

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Exceptional skills work permit According to the Immigration Act 13 of 2002 one can apply for an exceptional skills work permit at Home Affairs. This can be done while still in their country of origin or while they are in South Africa. The processing time varies but an applicant can confirm the expected processing time of their application with Home Affairs before initiating the application. The maximum duration granted is 3 years. If an applicant is applying for this maximum period of time then their passport has to be valid for at least 3 years and one month. The cost is R1,520.00 or the equivalent in US dollars or Euros. Applicants are also required to lodge a deposit of an amount determined by Home Affairs. Please note that the conditions relating to this permit might have changed, for more information visit: www.home-affairs.gov.za

Study permit A person applying for a study permit has to undergo the same type of application process as that of the exceptional skills work permit but with slight variations of requirements and the costs involved. The applicant will need an official letter from the intended institution of learning. The letter must also state the duration of the study. Most institutions of higher learning have departments which assist foreign students while still in their countries of origin.

Business permit More or less the same application procedure applies here as for the Exceptional Skills Work Permit and the Study Permit. However, the sectors approved for a business permit are the following: tourism, crafts, automotive manufacturing, Information T, clothing and textile manufacturing, chemicals and bio-technology, agro-processing, metals and minerals refinement. A basic requirement is that the applicant needs to invest or intend to invest R 2.5 million within 24 months. Apart from the other requirements, the applicant should submit a business plan. The business has to employ at least 5 South African citizens or permanent residents. If issued, working activities will be limited to the business described in the Business Permit. For more information on documentation please visit www.non-resident.co.za

Life partner permit This is granted to a foreign national with a Life Partner who is a South African citizen. For one to be considered for this permit the relationship has to be permanent. If successful the foreign national is granted temporary residency permit of up to 3 years which is renewable. A permanent residency permit application may be made if the relationship can be proven to be permanent after a 5 year period.

Documentation required People intending to apply for exceptional skills work, study or business permits have to submit the following: • Valid passport with at least one double-sided blank page. This can be accompanied by sworn translations into an official South African language if necessary. • The artist must show proof of sufficient financial means in the form of bank statements or traveller’s cheques. • Return ticket to county of origin and a deposit or a written undertaking from an employer accepting responsibility for the costs of repatriation if applicable. • 2 passport photos. • A letter from a foreign or South African body confirming the applicant’s skills and qualifications. • CV references and testimonials. • Additional proof e.g. in the form of publications if available is an added advantage. • Motivational letter from applicant. • Police clearance certificate from a country domiciled for more than 12 months upon attaining the age of adulthood. 95

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• Medical report • Radiological report also known as B1-806 form. Prospective immigrants from 12 years and above are required to have a chest examination by a medical professional who then completes the form. • Yellow fever vaccination certificate if coming from or intending to visit a Yellow Fever Endemic Area.

Additional documentation • Marriage certificate or affidavit (proof is required) if married. • Full birth certificates of individual children if they are going to accompany the applicant. • Proof of adoption, guardianship, custody or consent to travel - may be required for minors. • A completed temporary residence application form. • Affidavit of spousal relationship in case of a life partner. NB: The Police clearance certificate, medical and radiological reports should not be older than 6 months.

Lost permit If a permit is lost, one should report it lost without delay, to the nearest police station and get an affidavit. Take the affidavit and a copy of the permit, if you have one, to Home Affairs and a new permit will be issued. If it should happen that persons are arrested for being undocumented, they must know that they are entitled to legal recourse. Legal Resources Centres countrywide can be approached for assistance.

Human trafficking If you or you know someone was brought into South Africa by someone promising one thing, but instead find yourself being engaged to do something totally different, you may have been a victim of human trafficking. Human traffickers have been known to bring men, women and children from other countries for domestic servitude, commercial and sexual exploitation, etc. International Organisation of Migration (IOM) in South Africa works as the Southern African Counter-Trafficking Assistance Programme (SACTAP) to combat trafficking and assist victims. Campaigns were launched with the aim of sensitizing the public on this form of modern-day slavery. If you or someone you know is a victim of human trafficking, contact Human Trafficking Hotline (Toll free): 0800 555 999

RESOURCES International Organisation of Migration (IOM) Pretoria regional head office Phone: 012 342 2789 Fax: 012 342 0932 Website: www.iom.org.za Cape Town office: Phone: 021 425 4038

The Consortium for Refugees and Migrants in South Africa (CoRMSA) CoRMSA is a registered Non Profit Organisation tasked with promoting and protecting refugee and migrant rights. It is comprised of a number of member organisations including legal practitioners. Braamfontein Centre 23 Jorissen Street Braamfontein, Johannesburg, Gauteng 2001 Phone: 011 403 7560 www.cormsa.org.za

Passop: People Against Suffering Oppression and Poverty (PASSOP) offer free paralegal advice and assistance with launching appeals. 37 Church Street, Wynberg (corner of Main Road and Church Street) Phone: 021 820 4664 E-mail: office@passop.co.za Fax: 086 517 6812 www.passop.org

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2.5 LEGAL ASSISTANCE ARTISTS LEGAL DOCUMENTS

Artright is a great resource for legal assistance pertaining to the visual arts specifically but also the arts in general. The legal documents listed below can be downloaded: www.artright.co.za/artbusiness/legal/understanding-legal-terms/

Dispute Resolution Clause The Dispute Resolution Clause outlines how a dispute is settled when the parties are in disagreement about anything in the contract. The clause permits the party starting a claim to choose between either the Small Claims Court (when the claim is less than R7,000) or, otherwise, negotiation, mediation or arbitration. The Dispute Resolution Clause is incorporated into all the contracts on ARTRIGHT. This simple contract is used when an artwork is sold from an artist to a buyer.

Sale of a 2D Artwork with Rights This contract is similar to the sale of an artwork by a seller/artist. This agreement, however, entitles the artist to added rights.

Sale of a 2D Artwork by an Owner This agreement is the same as the Sale of a 2D Artwork by an Artist, the artist, however, has been replaced with the seller.

Invoice for the Sale of an Artwork An Invoice is issued by the artist / seller to the buyer once the artwork has been sold. The invoice is a request for payment. An invoice describes the artwork, the delivery address, the price of the work and the terms of payment. It is normally given to the buyer and provides an itemised bill of what is owed.

Certificate of Authenticity A Certificate of Authenticity describes the artwork and guarantees the buyer that the work is an original work by a specific artist. A gallery, an artist or any other seller can produce a certificate of authenticity on a buyerâ&#x20AC;&#x2122;s request.

Valuation Certificate A Valuation Certificate is often requested by collectors and art owners to evaluate an artwork. The certificate will normally be provided by a reputable professional who has a good idea of the art market. The Valuation Certificate is useful for a variety of business purposes.

Commissioning of an Artwork This agreement is used when an art buyer would like to commission an artwork from an artist. The agreement describes what the commissioning process entails, how payments are to be made during the process and when payments should be made. This contract is more advanced than the others and the users should be fairly comfortable with contracts or use a commissioning agent to mediate the process. The commissioning agent is normally your gallery or art agent.

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Agreement to create a Limited Edition This agreement is used when an artist wants to create a work and hires a print studio or sculpture studio to complete the limited edition of work. Once the work has been created the agreement is terminated, unless the artist allows the studio to sell the artwork on their behalf. This contract is more advanced than the others and the users should be comfortable with contracts or use a lawyer.

Agreement to Publish a Limited Edition This agreement is used when an artist and a print studio or a sculpture studio collaborate with each other to create a limited edition. The main difference between this agreement and the Agreement to Create a Limited Edition is that the creation of the edition is collaborative and the studio is helping the artist to finance and support the project. Since the studio and the artist are taking the risk of creating the edition together, the ownership of the edition is shared between the two parties.

Editions and Multiples Documentation This document provides factual information about the edition or multiples that were created in a studio. It may accompany an edition with a certificate of authenticity.

Receipt and Holding of an Artwork This agreement is used when an artwork is left at a gallery or storage company for the purpose of storage only. The work cannot be exhibited, photographed or used for any other commercial purpose.

Consignment Agreement Art is sold on consignment when an artist or an art owner allows a gallery to exhibit and promote their work of art for a period of time without the gallery actually owning the works. The gallery takes a commission for selling the work. Ownership of the work remains with the artist. Only on full payment will the ownership transfer from the artist to the buyer.

Consignment Record A consignment record is used to add new works of art to a consignment agreement if the terms of the existing consignment agreement are still valid. The record is signed by both parties and it is attached to the original consignment agreement.

Artist Gallery Agreement The artist gallery agreement outlines the relationship between the artist and a gallery. It stipulates how the gallery will represent the artist and the artistâ&#x20AC;&#x2122;s work. This contract is more advanced than the others and the users understand contracts well or use a lawyer.

Rental of an Artwork This agreement is used when an artwork is rented to a collector and determines the terms of the rental.

Exhibition Loan Agreement This agreement is similar to the Rental of an Artwork agreement, but in this case the work is loaned free of charge for exhibition purpose only.

Condition Report The condition report outlines the condition of the artwork and the frame. It is used when an artwork is delivered to a gallery, collector, storage house or any other third party. When the work is returned to the owner, and it has been damaged, the condition report will be able to prove that there is damage and show the extent of the damage. 98

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Copyright License Agreement This agreement licenses the copyright from an artist to a third party. The third party is then allowed to use the image of the artwork for a specific use as outlined in the contract.

OTHER LEGAL SERVICES

Below is a list of organizations offering legal services. It is advisable to first query with the organisation if you will be required to pay for the services provided. The University of Cape Town and Legal Resources centres and Legal Aid Board usually offer free legal advice.

Law Clinics University of Cape Town (UCT) Law Clinic 4th Level, Kramer Law School Building, 1 Stanley Road Middle Campus University of Cape Town, Rondebosch 7701 Phone: 021 650 3775 Email: uctlawclinic@uct.ac.za Hours: Monday to Thursday 08:30-13:00 (appointment necessary) Services: All services for refugees/asylum seekers are free of charge. General legal advice to refugees/asylum seekers; representing refugee clients at appeal hearings; providing assistance with family reunification, voluntary repatriation and resettlement applications; liaising with Home Affairs on issues affecting refugees. Most universities in South Africa have legal clinics which can be approached for assistance: • University of Durban-Westville: 031 204 4445/4821 • University of Fort Hare: 040 602 2236 • University of the Orange Free State: 051 401 2451 • University of Natal (Durban): 031 260 2867 • University of Natal (Pietermaritzburg): 033 260 5778 • University of the North: 015 268 2903 • University of the North West: 018 389 2510 • University of Port Elizabeth: 041 504 2190 • Potchefstroom University: 018 299 1950 • University of Pretoria: 012 420 4158 • Rand Afrikaans University: 011 489 2141 • Rhodes University: 046 603 8427 • University of South Africa: 012 429 8439 • University of Stellenbosch: 021 808 3195/2 • University of Venda: 015 962 8217 • Vista University (Bloemfontein Campus): 051 505 1386 • University of the Western Cape: 021 959 2756 • University of the Witwatersrand: 011 717 8562 • Wits University Legal Aid Clinic 011 717 8562 • University of Zululand: 035 902-6192 or 793 3911 99

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Legal Resources Centres Johannesburg 15th and 16th Floor, Bram Fischer Towers, 20 Albert Street, Marshalltown Phone: 011 836 9831

Cape Town

3rd Floor, Greenmarket Place, 54 Shortmarket St Phone: 021 481 3000

Grahamstown

116 High Street Phone: 046 622 9230

Durban

N240 Diakonia Centre, 20 St Andrews St Phone: 031 301 7572

Finding an attorney The Law Society of South Africa: The Law Society of South Africa is the umbrella body for the attorneys in South Africa. Listed on their website are registered attorneys per area. www.lssa.org.za / Phone: 012 362 1729

Provincial law societies: Law Society of the Cape of Good Hope: Phone: 021 424 8060 Law Society of the Free State: Phone: 051 447 3237 Gauteng Law Council: Phone: 012 323 0400 KwaZulu-Natal Law Society: Phone: 031 451 304 Mpumalanga Attorneys Council: Phone: 017 647 298, Fax 017 647 1260 North West Circle Council: Phone: 014 592 9315/6, Fax 014 597 1591 Circle Council of the Northern Province: Phone: 015 295 6402, Fax 015 295-8006 Law Society of the Northern Provinces: Phone: 012 323 0400 Black Lawyers Association: Phone: 011 403 0802, Fax 011 403 0814 100

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Lawyers for Human Rights Below is a list of Lawyers for Human Rights offices in South Africa:

Johannesburg 2nd Floor Braamfontein Centre 23 Jorissen Street (corner of Jorissen and Jan Smuts) Braamfontein www.lhr.org.za/offices/ johannesburg-office-and-law-clinic Phone: 011 339 1960

The Legal Aid Board If one finds him or herself on the wrong side of the law in criminal matters such as robbery, theft or assault etc, one can approach the Legal Aid Board in the area where the matter has been reported for legal representation. For information to find the nearest legal Aid Board visit their website: www.legal-aid.co.za/index.php/Satellite-Offices.html

Report of Human Rights Abuse If one feels his/her human rights have been violated, he/she can approach South African Human Rights Commission (SAHRC) at any of their branches countrywide. Website: www.sahrc.org.za

Durban

Complaints against Government Departments

Room S104, Diakonia Centre, 20th Diakonia Avenue www.lhr.org.za/offices/durbanoffice-and-law-clinic Phone: 031 301 0531

Contact the National Prosecuting Authority for complaints against government departments.

Musina 18 Watson Avenue www.lhr.org.za/offices/musina-office Phone: 015 534 3437

Pretoria Kutlwanong Democracy Centre, 357 Visagie Street www.lhr.org.za/offices/pretoriaoffice-and-law-clinic Phone: 012 320 2943

Stellenbosch

National Prosecuting Authority (NPA) Postal address:National Prosecuting Authority National Director of Public Prosecutions Private Bag X751, Pretoria Phone: 012 845 6755 www.npa.gov.za

Independent Complaints Directorate (ICD) For complaints against the police, one can seek redress from the Independent Complaints Directorate. City Forum Building, 114 Vermeulen Street, Pretoria Postal address: Private Bag x 941 Pretoria 0001 Phone: 012 399 0000 www.icd.gov.za

Corobrick Offices Bridge Street www.lhr.org.za/offices/stellenboschoffice Phone: 021 887 1003

Upington Room 101 & 102 Rivercity Centre Corner Scott and Hill Streets www.lhr.org.za/offices/upington-office Phone: 054 331 2200 101

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Copyright is a form of intellectual property. Copyright, as the word suggests, is the right of the copyright owner not to have their creative work copied by someone else. Copyright applies to literary, musical and artistic works and the design and layout of these creative works. Copyright also applies to website content, movies, DVDs, videos and video games, sound recordings, satellite images and sounds, as well as computer programmes.

A free copyright information guide is available from PASA, it is mostly applied to publishing, but has general information about copyright also. Download it at: www.publishsa.co.za/downloads/copyright_information_guide.pdf

Artright

also has extensive information on copyright, see www.artright.co.za/artbusiness/legal/copyright/ for more info, including answers to the following questions: • What is protected by copyright? • How does copyright cone into existence? • Who owns copyright? • How long does copyright last? • How is copyright enforces? • Which acts do not infringe on copyright? • How is it known that a copyright exists in an art work? • Information on Licensing copyright • Information on Copyright in public sculpture

Creative Commons

www.creativecommons.org

Dramatic, Artistic and Literary Rights Organisation (DARLO)

www.dalro.co.za

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general

Sending money options Western Union One of the most popular ways for sending money worldwide is through Western Union. To send and receive money, you will need to present your current governmentissued ID. In addition to this, to receive funds you will need to bring your Money Control Transfer Number â&#x20AC;&#x201C; contact your nearest Western Union branch to apply for one. Visit the website for information on the nearest agent www.westernunion.com

Moneygram Migrants with refugee status are permitted to send money via Moneygram on presentation of a current governmentissued ID. Proof of residence and proof of earnings should be presented. A work contract and a payslip not older than 3 months will suffice as proof of earnings. Proof of residence can be in the form of a lease agreement or utility bill also not older than 3 months. Those on work permits will have to present valid passports with permits as well as proof of residence as in the case of refugee status permit holders. Visit the website for information on the nearest agent www.moneygram.com

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African Arts Institute is kindly sponsored by Spier