National Arts Council Annual Report 2014/15 by Breinstorm Brand Architects

ANNUAL REPORT 2014/15

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CONTENTS PART A: GENERAL INFORMATION 1. Public Entity’s General Information................................................................................................ 004 2. List of Abbreviations/Acronyms...................................................................................................... 005 3. Strategic Overview............................................................................................................................ 006 3.1. Vision................................................................................................................................................... 006 3.2. Mission................................................................................................................................................ 006 3.3. Values.................................................................................................................................................. 006 3.4. Strategic Objectives............................................................................................................................ 006 4. Legislative Mandate.......................................................................................................................... 006 5. Organisational Structure.................................................................................................................. 008 6. Foreword by Chairperson................................................................................................................. 009 7. Chief Executive Officer’s Overview.................................................................................................. 014 7.1. Overview............................................................................................................................................. 014 7.2. Outputs and Outcomes....................................................................................................................... 015 7.3. Expenditure Review........................................................................................................................... 016 7.4. Organisational Development Initiative and Collaborative Strategy Execution............................. 016 7.5. Critical Challenges............................................................................................................................. 017 7.6. Future Plans........................................................................................................................................ 018

PART B: PERFORMANCE INFORMATION 1. Overview of Public Entity’s Performance....................................................................................... 020 1.1. Strategic Outcome Orientated Goals................................................................................................ 020 1.2. Service Delivery Environment.......................................................................................................... 021 1.3. Overview of the Organisational Environment................................................................................. 021 1.4. Key Policy Developments and Legislative Changes......................................................................... 022 1.5. Summary of Revenue Collection....................................................................................................... 022 1.6. Summary of Payments by Programme............................................................................................. 023 1.7. Capital Investment.............................................................................................................................. 023 2. Performance Information by Programme...................................................................................... 024 2.1. Programme 1: Arts Administration.................................................................................................. 024 2.2. Programme 2: Human Resources, IT and Financial Administration............................................. 041 2.3. Programme 3: Communications....................................................................................................... 043 3. NAC Grant Beneficiaries 2014/2015............................................................................................. 045 3.1. Overview............................................................................................................................................. 045 3.2. Project Funding 2014/2015.............................................................................................................. 045 3.3. Bursary Funding 2014/2015............................................................................................................ 058

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PART C: GOVERNANCE 1. Introduction....................................................................................................................................... 072 2. Reports to Parliamentary Oversight Committees.......................................................................... 072 3. Executive Authority.......................................................................................................................... 072 4. The Council........................................................................................................................................ 073 5. Risk Management............................................................................................................................. 075 6. Internal Control................................................................................................................................. 078 7. Internal Audit and Audit Committees............................................................................................. 079 8. Compliance with Laws and Regulations......................................................................................... 079 9. Fraud and Corruption....................................................................................................................... 079 10. Minimising Conflict of Interest..................................................................................................... 080 11. Code of Conduct.............................................................................................................................. 080 12. Health Safety and Environmental Issues...................................................................................... 080

PART D: HUMAN RESOURCE MANAGEMENT 1.Introduction....................................................................................................................................... 082 2.Human Resource Oversight Statistics............................................................................................. 082

PART E: FINANCIAL INFORMATION ................................................................................................................................................................ 090

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GENERAL INFORMATION

Dominion (John Hogg )

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1. Public Entity’s General Information REGISTERED NAME:

National Arts Council of South Africa (NAC)

PHYSICAL ADDRESS:

66 Margaret Mcingana Street Newtown Johannesburg 2113

POSTAL ADDRESS:

PO Box 500 Newtown 2113

TELEPHONE NUMBER: FAX NUMBER: EMAIL ADDRESS: WEBSITE ADDRESS: EXTERNAL AUDITORS: BANKERS:

(011) 838 1383 (011) 838 6363 info@nac.org.za www.nac.org.za The Auditor - General of South Africa ABSA Bank

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2. List of Abbreviations/Acronyms

AO AA ADO AFS AGSA APP ARC BASA B-BBEE CBO CEO CFO CSI DAC EA GMS HR IT MEC MINMEC MTEF NAC NLDTF NGO NFVF NPO PACCS PFMA SMME SCM TAU TIC TR

Accounting Officer Accounting Authority Arts Development Officer Annual Financial Statements Auditor - General of South Africa Annual Performance Plan Audit and Risk Committee Business Arts South Africa Broad-Based Black Economic Empowerment Community Based Organisation Chief Executive Officer Chief Financial Officer Corporate Social Investment Department of Arts and Culture Executive Authority Grant Management System Human Resources Information Technology Member of Executive Council Meeting of Minister and MECs Medium Term Expenditure Framework National Arts Council National Lottery Distribution Trust Fund Non-Governmental Organisation National Film and Video Foundation Non-Profit Organisation Provincial Arts and Culture Councils Public Finance Management Act Small, Medium and Micro Enterprises Supply Chain Management Technical Assistance Unit, a division of the National Treasury Technical Implementation Committee Treasury Regulations

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3.4 STRATEGIC OBJECTIVES As outlined in the NAC Strategic Plan 2012 to 2016 and the Annual Performance Plan (APP) for 2014 /2015, the strategic objectives of the organisation are: • Contributing to redress and transformation in the arts; • Developing an effective funding model that supports the NAC in achieving its mandate; • Fulfilling the full mandate of the NAC; • Advocating the benefits of the arts and the work of the NAC among critical stakeholders to create partnerships and unlock new resources for the arts; and • Creating programmes in support of new areas of work including youth development and audience development, participation and appreciation.

4. Legislative Mandates

Madia a Thavha - Creativity in Craft Training Programme

3. Strategic Overview 3.1 VISION The vision of the NAC is to promote, through the arts, the free expression of South Africa’s cultures.

3.2 MISSION The mission of the NAC is to develop and promote excellence in the arts.

3.3 VALUES The stated values of the NAC are: • Accountability • Results orientated • Professionalism and integrity • Making a difference • Employee fulfilment • Excellence and synergy • Transparency and openness

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The White Paper on Arts, Culture and Heritage, promulgated in 1996, made sweeping changes to the arts and culture landscape. A critical aspect of this transformation was the creation of new funding mechanisms that would make funds accessible to artists across all disciplines and in so doing, redress the bias towards particular art forms that were not supported under Apartheid. The White Paper outlines the role of the NAC. It should: • Distribute public funds to artists, cultural institutions, NGOs and CBOs to promote the creation, teaching and dissemination of literature, oral history and storytelling, music, dance, theatre, musical theatre, opera, photography, design, visual art and craft which fully reflect the country’s diversity; • Provide study bursaries for study in the fields of arts and culture to practitioners, administrators and educators; and • Carry out research, especially regarding policies linked to its mandate, and also execute investigations and research at the request of the Minister. The NAC derives its mandate from the National Arts Council Act (No. 56 of 1997, as amended). The Act mandates the NAC to: • Provide and encourage the provision of opportunities for persons to practice the arts; • Promote the appreciation, understanding and enjoyment of the arts;

Ubu and the Truth Commission (Luke Young)

• Promote the general application of the arts in the community; • Foster the expression of a national identity and consciousness by means of the arts; • Uphold and promote the right of any person to freedom in the practice of the arts; • Give the historically disadvantaged such additional help and resources as are required to give them greater access to the arts; • Address historical imbalances in the provision of infrastructure for the promotion of the arts; • Promote and facilitate national and international liaison between individuals and institutions in respect of the arts; and • Develop and promote the arts and encourage excellence in regard to these. The NAC is wholly funded by an annual budget allocation from Department of Arts and Culture (DAC). In terms of the Act, 75% must be distributed in grants in support of the arts and the remaining 25% is used for administration. Over and above the specific stipulations of the NAC Act and related regulations, the NAC as a Schedule 3 Public Entity of the PFMA must comply with:

• The Promotion of Access to Information Act (No. 2 of 2000); • Promotion of Equality and Prevention of Unfair Discrimination Act (No. 4 of 2000); • The Public Audit Act (No. 25 of 1994); • Labour Legislation including the Basic Conditions of Employment Act (No. 75 of 1997), Labour Relations Act (No. 66 of 1995) and the Employment Equity Act (No. 55 of 1998); • The Occupational Health and Safety Act (No. 85 of 1993); • The Income Tax Act (No. 58 of 1962 as amended) and all subsequent Taxation Laws Amendment Acts; • The Revenue Laws Amendment Act, 1996; • The Skills Development Act (No. 97 of 1998); • The Preferential Procurement Policy Framework Act (No. 5 of 2000); • The Remuneration of Public Office Bearers Act (No. 20 of 1998, as amended); • The Unemployment Insurance Act (No. 63 of 2001); • The Division of Revenue Act (No. 5 of 2012); • The Broad-Based Black Economic Empowerment Act (No. 53 of 2003); and • The National Credit Act (No. 34 of 2005).

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5. Organisational Structure: Existing

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6. Foreword by Chairperson Looking back over the past five years, the NAC has evolved into an internationally recognised organisation through its interventions in different projects and programmes globally, while consolidating its efforts locally to improve effectiveness and ensure delivery on our mandate. Working smarter to achieve more impact is the hallmark of the 2015/2016 Annual Performance Plan (APP), which is the result of a collaborative and consultative internal process to realise the NAC’s Five Year Strategic Plan. We are now working smarter having embraced technology to help us improve and streamline our myriad processes. We continue to invest in our people, and will continue to strengthen relationships with, and communicate more substantially with all our stakeholders locally, regionally, continentally and internationally.

NAC OBJECTIVES, TARGETS AND MEASURES

Mrs Matlhodi Angelina Makwetla Chairperson of the NAC

INTRODUCTION My four-year tenure as Chairperson of the National Arts Council (NAC) has been a process of discovery. I have always considered myself a social worker first then a businesswoman, not an artist. Fortunately, exposure to community development, nation building and choral music stood me in good stead. I had no doubt that there would be a lot of education needed. The initial year of my tenure was spent learning about the arts and culture sector and understanding the vastly changed landscape in which we operate. Having done this, and served for three more years, I can attest both to the soundness of the National Arts Council as an organisation and the validity of its Five Year Strategy. I now firmly believe that the NAC has a sustainable future.

The 2015/16 Annual Performance Plan outlines our objectives, targets and measures for the coming three financial years. It is designed to make a substantive contribution towards the following important goals: • Fulfilling the mandate of the NAC • Contributing to transformation in the arts and to social cohesion in our country • Implementing an effective funding model that supports the NAC, allowing it to deliver on its mandate • Advocating the benefits of the arts to create partnerships and unlock new resources • Creating programmes in support of focused areas of work including women, youth and people with disabilities

MILESTONES My arrival at the NAC coincided with one of the most challenging periods in the history of the organisation. Staff revolt against management meant that the Council needed to devote attention to settling the human resources component of the organisation. The organisation had received an

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adverse audit in 2011 and the new Council faced the prospect of being called to account before SCOPA, which indeed happened. This was part of a steep learning curve which served as an impetus for Council to strive for sound financial management and proper governance for the duration of its term of office.

REDRESS AND TRANSFORMATION Redress and transformation became the mantra for the Council. The funding model was overhauled to support the less privileged and to ensure that historically disadvantaged provinces were given more focus. The diagram above illustrates the funding model followed. Capacity building was critical in moving the organisationâ&#x20AC;&#x2122;s deliverables forward. Council therefore leaned more towards funding capacity building initiatives for the sector.

FINANCIAL POSITION The financial position of the NAC has always been of concern to me. The main consideration was to build the capacity of the finance team. In this period we have had three Chief Financial Officers. Council worked tirelessly to move the audit findings from qualified to unqualified, a feat we succeeded in obtaining in the 2012/13 financial year.

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This is against the backdrop of understanding the finite budget we need to operate within. To this end Council lobbied the then Minister Paul Mashatile to consider approval for a deviation from the provisions of Section 16 (2) (a) of the National Arts Council Act, Act No 56 of 1997 (the NAC Act) for the 2014/2015 and 2015/2016 financial years. By implication, the NAC Act makes provision for a maximum of 25% of the NACâ&#x20AC;&#x2122;s funding to be used to cover both operational and capital expenditure, subject to approval by the Minister of any expenditure in excess of this amount. The case made to the Minister illustrated that over the period from 2009/2010 to 2014/2015, the MTEF allocations to the National Arts Council increased from R78.552 million to R91.865 million (18.2%), inclusive of a decline in funding of 16% in the 2010/2011 financial year. Adjusted for inflation (average 7% annually), this represents a decline in income in real terms of R17.32 million or approximately 16% over this period. The real decrease in funding to the NAC has had a significant impact on its functioning. This impact includes: a. The NAC not being able to extend its activities to reach a wider range of beneficiaries; b. The NAC not being able to engage in capacity building programmes to support beneficiaries in the efficient and effective utilisation of the funding received;

c. The NAC not being able to afford the travel costs to allow Arts Development Officers to reach previously disadvantaged communities in the rural areas of our country and/or in areas outside of the Gauteng province; d. An inability to conduct effective ‘on the ground’ monitoring and evaluation of projects and grants. This has resulted in a slow pace in the reduction of the accumulated surplus as not all beneficiaries can be monitored to ensure that compliance issues are resolved and final payments are made; e. An inability to extend the NAC’s services to cover its broader mandate contemplated in the NAC Act. The Minister granted approval. This provided the necessary relief and yet to meet the objectives set in the Five Year Strategic Plan will be unsustainable beyond the MTEF period indicated above. Council intends to lobby Minister Nathi Mthethwa to consider making this approval permanent.

Arts Development Officers, thereby increasing their ability to deliver real value to the NAC and to our national arts and culture community. This core function is becoming proficient in reviewing applications for funding and in administering the grant making process. Gaps are however apparent in delivering on the full mandate of the NAC and in ensuring that grant making is supported by effective monitoring and evaluation to confirm that the investment made by the fiscus is being utilised for the purposes for which it was intended. We will continue to embrace technology to substantially enhance our processes, enabling us to mine the valuable information we have collected over the years. This will enable us to better understand how to play an effective developmental role, make intelligent decisions and inform policy. Technology will also enable us to communicate more effectively and to deliver additional services in support of the arts in this country.

HUMAN CAPITAL

ENLARGING THE NAC’S

The NAC is in the process of developing a core of competent staff who are highly specialised in the disciplines supported by the NAC (visual arts, crafts, dramatic arts, dance, literature, music and multi-discipline). These include both the core Arts Development Officer component, employed fulltime by the NAC, as well as panel members who perform duties on a part-time basis. This ensures a high degree of professionalism and expertise focused on the nuances, complexities and realities of each specialist discipline. This is a core competency within the NAC that should be preserved and enhanced over time. At an organisational level, we continue on a process of transition. We now have an approved organisational design that allows us to aggressively make it a reality and an organisational structure more aligned to the efficient delivery of our mandate. Extending the approval referred to above will ensure sustainability and continuation of the successful trajectory the NAC has embarked upon.

GEOGRAPHICAL FOOTPRINT

OPERATIONAL ISSUES At an operation level, we are constantly improving our new electronic Grant Management System (GMS) to replace our current paper-based system. This transition will increase our efficiency as well as improve our overall responsiveness to stakeholders, and will reduce the administrative burden on our

The most significant challenge facing the NAC remains that of delivering on our full mandate. It is therefore essential that we build on our strong, established capability as an efficient funding administrator to achieve our overall mandate of championing, developing and promoting the arts. As we are very mindful of the fact that we cannot do this alone, we continue to strengthen existing partnerships and build new relationships. In the coming year we will focus on working with partners to leverage available funding, build capacity and achieve real impact for the arts community. This will require us to play a far more proactive role in identifying the potential opportunities that will make a real, sustained impact in the communities we serve. This role will be supported by ‘NAC Desks’ that we aim to implement throughout the country with our provincial counterparts, which will encourage stronger partnerships and will result in greater awareness among arts practitioners and an extended reach into communities. The NAC Desks will consolidate our commitment to working with our counterparts in provincial and local government to ensure that the spread of funding allocations contributes to the development of underfunded provinces, and that supporting women, people with disabilities and young people remains an important priority. Coupled with the

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NACâ&#x20AC;&#x2122;s Enhanced Strategy, which affords us the latitude to create a variety of exciting platforms, the focus on unearthing and identifying new talent will be strengthened. The Enhanced Strategy will also allow us to create platforms for youth to flourish, as they make up the majority of the countryâ&#x20AC;&#x2122;s population, and are the future bearers of creation and innovation.

REGIONAL EXCHANGES AND STRATEGIC GLOBAL PROGRAMMES We are particularly excited about new strategic global and regional exchange programmes that will best benefit the arts sector. We were instrumental in the successful hosting of the NEPAD Regional Conference on Arts Education in Africa in March 2015 and look forward to the ASSITEJ World Congress taking place in May 2017. Further announcements of programmes with other countries that share our vision of promoting, developing and showcasing artistic excellence are also in the pipeline, following an effective showcasing of our artists in Canada in April 2015. These are as a result of our concerted communication drive embarked upon in 2014, which prompted the NAC to interact more strategically and regularly with our stakeholders and creating opportunities to listen more closely to them.

EMBRACING THE CHALLENGE Our organisation operates in a world that is constantly changing and we cannot be impervious to that. Therefore the NAC remains cognisant of the broader environment and is acutely aware of our responsibility as a recipient of funds from the fiscus in a very challenging economic climate. While underfunding still remains an area of paramount concern to the NAC, we are confident that the skills, passion and commitment of our people will enable us to excel. We continue to review our funding model to ensure ways in which our grant system can be more sensitive to the needs and expectations of the different arts and culture communities we serve, which will result in a number of more structured, tailored grants being made available. We will also proactively identify key strategic projects that will enable us to partner with significant individuals and institutions to deliver sustained value to the arts community in South Africa.

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The NAC continues to grapple with the complexity presented by its ownership of Downtown Studios. In 2009 at the request of the Minister of the Department of Arts and Culture (DAC), the NAC, a schedule 3A public entity, purchased two entities, a property and recording studio business from Gallo Music collectively known as Downtown Studios. This transaction was governed by a Memorandum of Understanding between the DAC and the NAC. The NAC in effect acted as a fiduciary to purchase Downtown Studios with the aim of transferring it within a year to a Special Purpose Vehicle (SPV) that would be created to administer these resources in support of music development. There were some delays in establishing the SPV but eventually the Downtown Music Hub, a non-profit company was registered with the board appointed by the Minister of Arts and Culture. The organisation is not registered as a Public Benefit Organisation (PBO). For the purposes of accounting, it is important to note that with regard to accounting treatment, the two entities (Fox Street Properties which is the building and Downtown Studios, which is the recording business or in effect its assets) present substantial challenges which have led to qualified and even adverse audit finding over the years. The complexity arises from the fact that the entities were incorporated into the Annual Financial Statement (AFS) of the NAC, resulting in the awkward situation of being held accountable for entities over which the NAC has no control of.

GOVERNANCE, REGULATION AND STAKEHOLDER ENGAGEMENT Council is committed to sound governance practices and endorses the principles of the King Code, which came into effect on 1 March 2010. Much as it is voluntary, the King Code is recognised as international best practice and we are committed to applying its recommendations. We have established a system to apply the principles of the King III Code, except for those instances where the board decides that certain principles are not appropriate, in which case we will provide reasons for this. During 2014, Council reviewed all board and committee mandates and this process is continuing. We believe that maintaining governance best practice, and complying with all applicable legislative and regulatory requirements, equates to enhancing shareholder value and supporting the stability and growth of our sector over the long-term. We are in the process of building and

sustaining strategic relationships with a range of stakeholders to manage social expectations, minimise reputational risk and form strategic partnerships. We try to build partnerships with organisations that enhance our own sustainability as well as our contribution to sustainable development, and engage with many different industry bodies and institutions that give us the opportunity to interact with our broad and diverse stakeholder base.

RECOMMENDATIONS I now wish to take this opportunity to make the following recommendations considered to be critical to the success of the NAC. a. Council Composition: The composition of Council should take into cognisance the critical skills set required to drive the Five Year Strategic Plan. The nomination process should therefore call for the requisite skills. To ensure continuity, I would also like recommend retaining more members from the previous term. b. Review of the NAC Act: The NAC finds itself in a peculiar position imposed by the provisions of the NAC Act. The Act allows for particular governance structures to support compliance. Currently, these governance structures outnumber the number of employees. This has placed tremendous pressure on the administrative budget. The long-term solution is to review the Act, but in the meantime the NAC will continue with its efforts to increase efficiencies and monitor costs. c. Review of the Ministerial Approval to be made permanent The operating expenditure of the National Arts Council consists largely of staff costs (which constitutes 15.7% of the total budget). Currently, salaries, increments and related costs are linked to the DPSA, governance prescripts. Most of these costs are fixed and are not under the direct control of the NAC. This has meant that the relative percentage of operating expenditure has increased substantially over this period. Again, this is a factor outside of the direct control of the NAC. It does however mean that the envisaged percentage allocated to operating expenses in the NAC Act, is unrealistic and unachievable. The NAC’s operating expenses have been augmented by other income mainly, interest income from special projects and the project management income. The NAC applied for and was granted permission to increase its operational costs to 30% of the total budget. Our request is that the Ministerial

approval be made permanent so as to enable the organisation to meet the critical administration activities – monitoring and evaluation, etc - necessary in improving the management activities required to maximise the grants made to our recipients.

CONCLUSION It is with a sense of sadness, but great pride, as I near the end of my four-year term as the Chairperson of the National Arts Council of South Africa. It has been a remarkable experience of learning and teaching, a journey that has broadened my knowledge of the arts and culture landscape of our country, and deepened my appreciation of the sector. As we work towards developing the organisation to achieve its desired outcomes, we recognise that people are an organisation’s most important resource and as we strive to build our capacity, we continue with constructive efforts in this area. I would like to take this opportunity to thank the NAC Council for their support during my tenure as Chairperson, and to acknowledge their role in building the organisation and their contribution to its growth. At a leadership level, we remain indebted to Monica Newton, a consummate bureaucrat. During her brief tenure, Newton managed to create a basis for turning the NAC around. I am confident that our new, highly experienced and passionate Chief Executive Officer, Rosemary Mangope, will continue to successfully drive the Five Year Strategic Plan and implement all ancillary plans. My appreciation extends to all the NAC staff members, who display ongoing support and commitment to ensure that the organisation fulfils its mandate. Thank you for the opportunity of championing an organisation that is central to the development, promotion and sustainability of arts and culture in our country.

MRS MATLHODI ANGELINA MAKWETLA NATIONAL ARTS COUNCIL - CHAIRPERSON

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7. Chief Executive Officer’s Overview a mechanism to drive this process. These will be highlighted under ‘outputs and outcomes below’. The NAC is also considering ways in which it may expand the pool of funding and resources available to artistic communities. This may include leveraging corporate and international governmental and NGO funding, leveraging on the NAC’s reputation as a credible funding vehicle. It may also include encouraging donor beneficiaries to make a contribution in kind to the overall achievement of the NAC’s mandate through contributing their time and energy to ‘pay it forward’ in specific pre-identified projects that may benefit other parties. The NAC will work more closely with other funders to ensure that its knowledge and understanding of the arts in South Africa assists in achieving the required impact. Attention will be paid to potential areas of collaboration that may assist in ensuring that these funds are effectively disbursed to those areas of the arts community where they will have the greatest potential impact. Collaborative effort needs to be focused on achieving common goals and on providing the requisite support to capacitate and sustain grassroots structures such as community arts centres and other NGOs aligned to our mandate.

OVERVIEW Ms Rosemary Mangope Chief Executive Officer

INTRODUCTION The South African arts and culture landscape has changed tremendously over the years. This calls for an adoption of a different trajectory, while supporting the gains of previous years. In the past financial year the NAC spent time considering ways in which it may innovate to best serve the interests of the arts communities in South Africa. This includes investigating ways in which the current grant system can become more focused on the NAC’s strategic outcomes and thereby made more sensitive to the needs and expectations of the diverse range of arts and culture communities in this country. To this end, flagship projects were introduced as

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The NAC has an important cultural engagement role that it needs to fulfil and has started to strategically identify the global, regional and continental cultural engagement programmes that will best benefit the arts sector. The success of the South Africa – France Seasons has encouraged the organisation to find partners who share the NAC’s vision of promoting, developing and showcasing artistic excellence. We see cultural engagement as a key component of sourcing strategic partnerships that will realise more resources and capital, and further supporting the Department of Arts and Culture in the implementation of the Mzansi Golden Economy. My appointment as a board member of the International Federation of Arts Councils and Cultural Agencies (IFACCA), as well as the NEPAD Regional Conference on Arts Education in Africa has positioned the organisation to strengthen cultural engagement across the continent.

Another key focus of the NAC was on embracing technology so as to improve administrative efficiency; freeing up the time and energy of the Arts Development Officers to play a greater value-adding role in line with the broader mandate and moving traditional thinking beyond the current NAC funding model to find ways in which to leverage additional resources for the benefit of the arts and artists. With an enhanced Five Year Strategic Plan described in the NAC Strategy 2014/2018 document and the first Annual Performance Plan of the period to guide us, we set ambitious targets for ourselves. It is an honour and privilege to present this report which reveals how we have delivered against set targets. Progress towards achieving our full mandate has been significant in the 2014/2015 financial year and will continue throughout the coming years.

OUTPUTS AND OUTCOMES The Annual Performance Plan (APP) 2014/15 was aligned to the new NAC strategy and continues to build on the significant transitions that the NAC is currently experiencing. These transitions are from: • An insular perspective of the NAC as a standalone agency to a holistic view of the NAC as an inter-connected part of the arts and culture ecosystem in South Africa; • A funding model based around reliance on government to a broader funding plan that leverages funding and resources in the best interests of the arts; • The initial paper-based administration environment to a recently introduced internal automated process; • Ongoing changes in leadership to planned advancement based on competence, career development and succession planning; • Inadequate organisational change to planned organisational development. The APP also supported the NAC’s evolution from: • A focus on grant delivery to a broader role, in line with its overall mandate, of promoting and developing the arts in South Africa; • Providing purely financial support to its stakeholders, to developing and providing value-adding products and services targeted at the various stakeholder segments; • A distant to a closer relationship with the Department of Arts and Culture.

At the same time, the APP also supported the NAC in adapting to a changing world by: • Focusing on ways to foster social cohesion in South Africa; • Rethinking the value the organisation may add to the lives of artists, communities and youth, as well as marginalised and vulnerable groups; • Proactively anticipating changes in the policy environment and rethinking its potential future role; • Developing international and regional relationships to foster co-operative agreements that benefit South African artists. At an operational level, the NAC has made progress in transitioning to a new electronic Grant Management System (GMS) to replace its current manual, paper based system. This transition promises to increase efficiency as well as improve overall responsiveness to stakeholders. It will reduce the administrative burden on Arts Development Officers and increase their ability to deliver real value to the NAC and to the national arts and culture community. The most noteworthy successes reflected in this annual report pertain to the increased number of grants disbursed to beneficiaries. We exceeded last year’s target by 53. A total of 633 grants were disbursed and an improvement has been noted in disbursements targeted to traditionally underfunded provinces. A concerted effort has been made to identify strategic partnerships to leverage resources. These initiatives will address the strategic thrust of development and the support of the arts. To this end the NAC has co-funded 98 projects in 2014/15. Communications and marketing remains an area of growth. Social media has become an instrument through which we communicate our goals and collaborative project successes to our stakeholders and the public at large. There are some aspects of our performance that did not meet our ambitions. This is mainly with regard to monitoring and evaluation of projects. The target set was 200; we managed to reach 126 projects. Hindsight has demonstrated that this target was too high as it did not take into consideration the balance needed between operational work and oversight work. To this end, a new approach will be taken to ensure that this crucial element is not short-changed.

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To enable the NAC to fulfil the needs and expectations of the diverse range of arts and culture communities in South Africa, Flagship Projects were introduced as a mechanism to drive this process. In the 2014/15 financial year, 17 flagship projects were identified. In the spirit of redress and transformation, we wish to highlight arts development projects involving the youth. The Garage Dance Ensemble works with mentors, teachers and arts administrators. The management team uses its vast experience in teaching, choreography and arts administration to source local talent and impacts positively on the communities of the Namakwa region, in particular and the Northern Cape in general. The work of the company through performances and teaching equally challenges and affirms the communityâ&#x20AC;&#x2122;s social practice and belief system. Ifa Lethu manages the largest heritage repatriation and youth creative entrepreneurial development effort in South Africa. It was launched in 2005 with the view to repatriate cultural heritage of the struggle era and using it to empower rural communities. Artworks have been repatriated from other countries. In order for crafters to comply with the 2014 vision for a formalised South African craft sector, there is a need to develop skilled human resources, abundant local design and innovative talent, natural and cultural resources and appropriate technologies. The aim of the project is to train and develop 60 new entrants to enable them to participate in the growing creative industry in Clarens and to develop creative enterprises resulting in sustainable job creation and a potential spinoff of 400 new jobs in five years.

FINANCIAL REVIEW The budget allocation for 2014/15 was R91 865 000, not much of an increase from the 2013/14 budget of R87 554 000. Grant funding represents R64 306 500 for the 2014/15 period. Within the context of a very challenging economic climate, locally, regionally and globally the NAC is acutely aware that it competes with other priorities for funding. It is also aware that it needs to act responsibly so as to increase and facilitate the efficient usage of funding and resources available to the arts community. It does so against the backdrop of both financial constraints as well as potential changes to its policy environment, as set out in the Revised White Paper on Arts, Culture and Heritage.

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The NAC funding model was reviewed when the new Council came on board through an inclusive process, conducted in consultation with critical stakeholders in eight provinces. Considerable equitable changes in financing trends have been realised. A large number of grants were made to applicants based in underfunded provinces, including women, youth and people with disabilities, leading to the achievement of transformation and redress targets. This is an indication that the tide has turned. While the patterns are changing gradually, it is clear that there is a steady increase in funding to these target beneficiaries. The above mentioned funding model had both a positive and an adverse impact on the accumulated surplus reflected in the financial statements. The positive impact saw more funding targeted towards previously disadvantaged individuals and improving access to grants for new entrants. The negative impact is that due to the inability to supply the requisite information stipulated in the disbursement criteria, projects do not draw down on their tranches timeously. This element is being gradually improved through the introduction of an arts accountant and collaborative efforts between the finance team and the arts development section to manage disbursements and ensure that beneficiaries draw down on grants within the requisite time frames.

ORGANISATIONAL DEVELOPMENT INITIATIVE AND COLLABORATIVE STRATEGY EXECUTION Following an Organisational Development Initiative supported by the Technical Assistance Unit at National Treasury, the NAC continues to be aware of its organisational capabilities and capacity required to deliver successfully on the NACâ&#x20AC;&#x2122;s strategy. A strategy does not have real meaning unless an organisation has the capacity to deliver on its strategy. In order to build the required strategic capabilities and capacity to deliver on its strategy, the NAC embarked upon a planned process of conscious change and transformation. It is clear that if the NAC is to deliver on its broader mandate and strategy, it will need to develop the capacity to do so. The first step was to provide clear organisational focus for its aspirations which included supplementing an operational focus on arts development with a managed operational component focused on arts promotion.

Budget constraints mean that simply bringing on board new people will not be a short-term reality for the NAC. It therefore has to become more administratively efficient in order to utilise its current human resources more effectively. At the heart of the NAC’s organisational capacity lie the Arts Development Officers. They are the ‘engine room’ of the organisation and as such need to be freed up from their current administratively focused role in order to be able to play a greater value-adding role. Their motivation, commitment, competency and hard work will be key drivers in sustaining the expansion of the NAC’s mandate. In order to do so, the NAC needs to embrace technology and innovate many of its current processes and practices. It must be remembered that the NAC is first and foremost a national agency of government. As such it has counterparts at both a provincial and local level that operate within the opportunities and constraints of their own context. It is essential that there is a clear alignment of activities at different levels of government, with role clarity and complementary areas of focus. A significant constraint in this regard is the fact that not all Provincial Arts Councils or their counterparts at a local government level are operating effectively. An NAC strategy that attempts to better understand what is happening on the ground and sets out to build a sustainable capacity for localised action has been adopoted. The NAC remains committed to working with its counterparts to ensure that the spread of funding allocations contributes to the development of underfunded provinces. Supporting women, people with disabilities and young people will remain an important priority.

CULTURAL ENGAGEMENT The new enhanced 2015/2018 NAC Strategy clearly identifies cultural engagements as a significant vehicle for the promotion of global and regional learning, developmental opportunities and market development opportunities for South African artists. To this end, management’s focus has been on ensuring the creation of mission critical engagements with foreign governments and agencies to develop exchange programmes that will benefit South African arts practitioners. This is done in a quest to transition from a role focused around grant making to a broader role in line with our overall mandate of promoting and developing the Arts in South Africa. The objective

is to develop regional and international relationships to foster co-operative agreements that benefit South African artists. The NAC’s partnership with the prestigious Canadian Stage in Toronto was one such initiative. It has resulted in the successful showcasing of some of South Africa’s leading performers, writers, directors and choreographers in a special three-week Spotlight South Africa Festival. The Festival took place from 8 to 25 April 2015, and featured Athol Fugard’s award-winning Nongogo and the Masterful Ubu and the Truth Commission by the Handspring Puppet Company and William Kentridge, while provocative performance artist Steven Cohen performed his work Chandelier. Dancer and choreographer Mamela Nyamza, who has said she wants to “turn classical ballet upside down”, presented two works – The Meal and Hatched – while Dominion by the Vuyani Dance Theatre’s Luyanda Sidiya showcased how power corrupts. In addition to sending its production of Nongogo (directed by The Market Theatre’s artistic director James Ngcobo) to Canada, The Market Theatre identified a young director, Clive Mathibe, for a two-month mentorship programme with Matthew Jocelyn, Artistic and General Director of the Canadian Stage. The NAC also facilitated discussions between Business and Arts South Africa (BASA) and Business for the Arts Canada, which resulted in the CEO of BASA, Michelle Constant’s participation in the Canadian Art Summit in April, as well as the placement of BASA’s Marketing Manager for an internship in Toronto during the weeks leading up to the summit.

CRITICAL CHALLENGES The NAC will continue to contribute to the dialogue around the content of the White Paper and hopes that the final version will reflect the realities of our country, its diverse artistic communities as well as the potential of art to make a serious contribution to personal well-being, economic growth and social cohesion. The complexity of our ownership of Downtown Studios (DTS) present a great challenge. The NAC finance team has been involved in the oversight of the DTS management account for auditing purposes. Furthermore, the NAC has been granted permission to transfer Downtown Studios and Fox Street Properties to a hub entity.

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FUTURE PLANS We intend to embrace technology to mine the valuable information we have collected over the years and start to document the jobs created through funding. We further intend to track the sustainability of these jobs to change the landscape of the South African creative and cultural industries. While under-funding still remains an area of paramount concern, the NAC is confident that the pride, passion and commitment of its people will enable it to excel!

CONCLUSION The NAC does not operate in a vacuum. It is an integral part of an ecosystem that operates at a national, provincial and at a local level. In a world of scarce resources and fiscal constraints, it is important that this ecosystem works together to best utilise its scarce resources and to marshal the necessary energy and focus to deliver value to the artistic community in South Africa. It will be critically important to ensure that there is alignment between the

National Arts Council, the Provincial Arts Councils and arts-related structures at a local government level. The NAC believes that it can, and should, play an important role in facilitating this process. In a quest to pro-actively anticipate changes in the policy environment and re-thinking its potential future role, the NAC will continue reviewing the value it may add to the lives of artists, communities and the youth and will focus on ways to foster social cohesion in South Africa through developing regional and international relationships to foster co-operative agreements that benefit South African artists.

MS ROSEMARY MANGOPE CHIEF EXECUTIVE OFFICER NATIONAL ARTS COUNCIL

Omar Badsha - Young woman repairing home, Inanda, 1982

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PERFORMANCE INFORMATION

Chandelier (John Hogg)

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1. Overview of Public Entity’s Performance 1.1. STRATEGIC OUTCOME ORIENTATED GOALS The table below outlines a high level summary of the progress that the NAC made in achieving its strategic objectives in the 2014/2015 financial year. This is supported by more detailed information in the sections below.

TABLE 1: SUMMARY OF ACHIEVEMENTS

PRIORITY

HIGHLIGHTS

To promote equity in the arts through specific grant-making focus on disadvantaged and marginalised individuals, groups and communities

• In support of redressing the historical underfunding of particular provinces, 41.56% of grant allocations were made to beneficiaries in rural areas and marginalised provinces such as the Eastern Cape, the Free State, Limpopo, Mpumalanga, North West and the Northern Cape. • 41.56% of the grant allocations were made to organisations steered by women as well as to individual women in the arts. • 5.8% of the grant allocations were made to organisations and individuals in support of people living with disabilities. • 50.20% of the grant allocations were disbursed to youth • Thirteen (13) capacity building programmes were developed and implemented in partnership with BASA. Ninety-one (91) arts organisations were supported for a period of three years. • Nine (9) community arts centres received training for their centre managers and arts programme managers.

Strengthen the practice of the arts through focused, efficient and effective grant-making

• 54% of the grant allocations were made to projects that promote the arts. • 38% of the grant allocations were made to projects that create new works. • 34.1% of the grant allocations were made towards projects that build capacity.

Market access and creative engagement

Increased access to the arts through arts advocacy

• The Spotlight on South Africa project presented a cohort of South African artists at a leading theatre in Toronto, Berklee Theatre in Canada to perform and present art works for a period of three weeks. The programme involved productions in theatre, dance, and music. • Engagement with three (3) Provincial Arts and Culture Councils achieved to improve alignment with the with the NAC. • Communication about the work of the NAC and the value of the arts was substantially up-scaled through the NAC newsletter, media relations and social media. • Social media platforms were utilised to communicate with the arts sector. • Communications around special projects was implemented and showcased positive returns. For the Canadian stage project, a press release was drafted and distributed to local, regional and national media. Interview motivations were utilised to secure interviews with various spokespeople. A total of five pieces of coverage and nine interviews were achieved.

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1.2 SERVICE DELIVERY ENVIRONMENT The NAC has historically been positioned solely as a development funding entity due to the organisation’s heavy focus on funding. The engine of the organisation was well designed for processing grants but this positioning has left certain elements of its mandate overlooked. For the NAC to achieve its full mandate, a need has been identified for the organisation to expand its offering to benefit and enable the sector as a whole. This realisation led to an organisational review that investigated mechanisms to extend its services beyond disbursing of grants. To broaden the NAC’s service delivery approach and to expand on its offering, a number of strategic partnerships were formalised during the period under review. One such partnership saw the development of the Support for Community Arts Centres Programme delivered by Sibikwa Community Arts Centre and the Bat Centre Trust. The programme focused on human capital development for community art centre managers. The two centres were tasked to develop and implement a capacity building programme for community arts centres. Selected community arts centres in the Free State, KwaZulu-Natal and the Eastern Cape participated in the capacity building programme.

1.3 OVERVIEW OF THE ORGANISATIONAL ENVIRONMENT 1.3.1 ORGANISATIONAL DEVELOPMENT

The NAC is adept at ensuring it has the ‘right people in the right place at the right time’ to ensure delivery on its mandate. The organisation constantly focuses on strengthening key organisational and governance processes to ensure organisational efficiency and effectiveness. The NAC Act stipulates that 75% of the allocated budget be distributed in the form of grants and the remaining 25% should be utilised for administration. This allocation posed a challenge for the organisation due to governance costs being high. The NAC was successful in its request to have the amendment to deviate to 70% for project funding and 30% towards administration.

The NAC is cognisant of the significance of open and transparent participation by the arts community in grant funding processes. However, there is a need to reduce the cost of governance and still improve the swiftness and the flexibility of the NAC’s decision making structures. The NAC employed 25 people and remunerated a further 27 people through their participation in the NAC’s governance structures. This provides a 1:1 ratio of employees to participants in governance structures.

1.3.2 CONTINUED SUPPORT TO MARGINALISED COMMUNITIESAND GROUPS

The NAC remains committed to working with our counterparts at provincial and local Government to ensure that funding allocations contributes to the development of underfunded provinces and to support women, people living with disabilities and the youth. The support for marginalised communities and groups hinges on and promotes participative and active citizenry principles to achieve an inclusive and cohesive society. A ‘pay it forward’ approach has been established with beneficiaries and will see the organisation working with artists and arts organisations contributing towards development and giving support where it is required.

1.3.3 ARTS PROMOTIONS AND ADVOCACY

In advocating for the arts, interaction and collaboration with provincial stakeholders were initiated in the past year. This was done through frequent interaction, information sharing and initiation of partnership projects. Communication about the

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work of the NAC and the value of the arts was also substantially up-scaled through the NAC newsletter, the digital media and partnerships with key publications in the arts such as Classic Feel Magazine. Social media platforms such as Facebook were also successfully utilised to communicate with the arts sector about relevant matters.

The most significant transition however remains the challenge to execute on our full mandate. It is essential that the NAC not only builds on a strong, established capability as an efficient funding administrator but also transitions to its full mandate of championing, developing, enabling and promoting the arts.

1.4 KEY POLICY DEVELOPMENTS AND LEGISLATIVE CHANGES There were no specific legislative or policy changes in the period under review that impacted unduly on the work of the NAC.

1.5 SUMMARY OF REVENUE RECEIVED TABLE 2: REVENUE RECEIVED

2014/2015

2013/2014

SOURCES OF REVENUE

ESTIMATE AMOUNT R’000

ACTUAL AMOUNT COLLECTED R’000

(OVER)/ UNDER COLLECTION R’000

ESTIMATE AMOUNT R’000

ACTUAL AMOUNT COLLECTED R’000

(OVER)/ UNDER COLLECTION R’000

GRANT

91 865

87 554

INTEREST

1500

2 919

1 419

2 200

2 193

TOTAL

93 365

94 784

1 419

89 754

89 747

Magnet Theatre Educational Trust (Marc Wessels)

022 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

1.6 SUMMARY OF PAYMENTS BY PROGRAMME The table below provides a summary of payments by programme.

TABLE 3: SUMMARY OF PAYMENT BY PROGRAMME

2014/2015

2013/2014

PROGRAMME NAME

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

ARTS ADMINISTRATION

121 447

70 240

51 207

64 712

73 205

32 472

27 741

30 683

(2 942)

27 628

29 467

1 868

1 319

1 302

1 252

1 042

292

150 507

102 225

54 166

93 592

103 714

34 632

FINANCE, IT AND HUMAN RESOURCES COMMUNICATION

TOTAL

1.7 CAPITAL INVESTMENT The NAC does not have substantive infrastructure projects and capital expenditure that is managed within the finance section.

TABLE 4: SUMMARY OF INFRASTRUCTURE PROJECT PAYMENTS

2014/2015

2013/2014

INFRASTRUCTURE PROJECTS

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

TOTAL

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2. Performance Information by Programme 2.1 PROGRAMME 1: ARTS ADMINISTRATION 2.1.1 FOR THE PERIOD UNDER REVIEW, THE ARTS ADMINISTRATION PROGRAMME HAD THE FOLLOWING OBJECTIVES:

• Strengthen the practice of the arts through focused, efficient and effective grant funding; • Driving equity in the arts; • Building sustainable arts capacity; • Driving market access and creative engagements.

2.1.2 KEY PERFORMANCE MEASURES, TARGETS AND RESULTS

The purpose of this section is to provide an overview of performance against the annual targets as stated in the Annual Performance Plan for the Arts Administration Programme for the 2014/2015 financial year. The key deliverables of the Arts Administration Programme emanate from the Enhanced Five Year Strategic Plan 2014-2017 approved on 28 November 2013.

024 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

The key focus areas for the Arts Administration Programme have been on the following key strategic goals: GOAL 1: Strengthening the arts through focused grant or award making. This goal entails focussing on the grant-making function of the NAC. Grant making has traditionally been the main focus of the NAC. The goal supports the function of creation of new work and its distribution by individual artists and organisations through funding. To this end the NAC has supported 211 individuals and 244 organisations. Many of the work supported centred on arts promotions of which 54% of the grant was allocated for the purpose, 38 % of the grant went towards creation of new work and content, and 34.1% towards arts capacity to support and grow talent in the arts. GOAL 2: Promote equity in the arts through specific grant or award focusing on disadvantaged and marginalised individuals and groups. By focusing on disadvantaged and marginalised sections of communities through funding support, this goal aims to address past legacies. This goal aims to specifically support indigenous art forms, the youth, people living with disabilities, women and marginalised communities, particularly those living in marginalised provinces, rural areas and under-resourced areas. To this end 41% was allocated to women and women-led projects, 16.96% to indigenous art forms, 41.56% to the benefit of marginalised provinces and rural areas, and 50.20% allocated to benefit the youth.

GOAL 3: Develop sustainable capability that enables the arts to entertain, enrich and inspire. This goal aims to support the development and growth of the arts through the support of capacity building programmes. It entails support through the funding of bursaries, growing of talent and supporting the development and enhancement of skills of arts administrators and practitioners. 34.1% has been allocated to projects that aim to develop capacity and grow the arts. The NAC has initiated a capacity building programme that focuses on human capital development of managers of community arts centres. Two centres of excellence, namely, Sibikwa Arts Centre and the Bat Centre Trust, have been chosen to drive this initiative. These centres were tasked with the design, development and implementation of a capacity building programme for nine (9) community arts centres operating in the Free State, Eastern Cape and KwaZulu-Natal. GOAL 4: To increase access to markets and enable creative engagement for South African art and artists. This goal entails the support of opportunities and platforms to allow artist to showcase their work. This allows access to markets and building of audiences to consume the arts both at local and international levels. The NAC has entered into a partnership with the Berklee Theatre in Toronto, Canada to present the Spotlight on South Africa Festival. This was in recognition and celebration of 20 years of democracy in South Africa. The project entailed taking a cohort of 64 South African artists to the Berklee Theatre in Toronto, Canada to perform and present art works for a period of three weeks. Each week featured a variety of performances in theatre, dance and music.

2.1.3 PERFORMANCE ENVIRONMENT

The NAC is committed to its mission to develop and promote the arts. In order to redress the past imbalances, the NAC needed to ensure that funding is allocated equitably across the different provinces and groups of people. Historically, the geographic footprint of NACâ&#x20AC;&#x2122;s funding allocations has been mostly prominent around urban centres and metropolitan provinces. The spread of the NAC allocation of resources has for many years been biased towards metropolitan provinces such as Gauteng, Western Cape and KwaZulu-Natal. However in the new enhanced strategy it has been important to consider applications that originate in metropolitan provinces but benefit disadvantaged

Vuyani Dance Theatre Company (Marijke Willems)

provinces, marginalised groups, rural areas and peri-urban areas. Concomitant to improving the geographic spread of funding, the NAC still has considered increasing funding allocations to previously marginalised communities, women, youth and people living with disabilities. Funding allocation to these groups aimed to create opportunities for the targeted communities to participate in the arts, increase awareness of the arts, increase access to markets, creation of new work and content as well as increasing arts capacity. The enhanced NAC strategy also emphasised focused grant funding in the areas of arts promotions, capacity building and the creation of new works. In order to achieve this, the NAC needed to galvanise efforts to push strategic partnerships with structures in the various provinces to meet these targets. History has proven that open calls for applications, coupled with limited funding, to a larger extent does not assist the NAC to reach its intended goals. To achieve our targets, the NAC embarked on supporting flagship projects that met the strategic imperatives of the NAC. Organisations that have capacity and a proven track record, capacity to grow and to support the creation of job opportunities, mentoring of emerging artists, create

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new works with the youth that develop and extend audiences, were selected to be beneficiaries of flagship funding. Special consideration was made to identify organisations with a capacity to utilise the funding with integrity and comply with the principles and practices of sound governance within the required timelines.

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A: SUCCESS STORIES

1. CRAFT IFUNDISO TR ADING The NAC supported 91 projects from the nine provinces during the 2014/2015 financial year. The work that is highlighted here is from Ms Hlengiwe Dube, the co-ordinator of Ifundiso Trading organisation. The organisation is situated at Glenwood in KwaZulu-Natal. Ms Dube was approached by one of the community members of Madikwe, Ms Tertia, to train the women from the Madikwe community, after seeing her work. Ms Dube informed her that she required compensation for travelling, accommodation and training fees which the community did not have. Hence Ms Dube approached the NAC for financial assistance towards the training. The Ifundiso Trading specialises in promoting South African art and craft works mostly from rural areas. It also offers skills transfer programmes for all interested individuals around the country. All work done is documented for future references. The traditional and contemporary trends are also documented. The major aim of the organisation is to address the unemployment issue and poor standards of living that affects communities at large. This project took place in Madikwe town at the Moses Kotane local municipality. This local municipality is a category B4 which is mainly rural with communal tenure within the Bojanala district in the North West province. The Moses Kotane municipality consists of 107 villages and two towns which are Mogwase and Madikwe. The dominant sector that drives economy is tourism, manufacturing, agriculture and mining. Madikwe is closer to the Botswana Border and located near numerous reserves, mostly privately owned. The largest game reserves in the area are Sun City, Madikwe and Pilanesberg Game Reserve both approximately 60km away. The project aims to uplift the social and economic communities in this rural part of Moses Kotane Municipality. Fifteen (15) participants, mainly women, were involved in this project. They were trained to produce beaded jewellery. They are currently supplying their work to the game reserve and surrounding areas. The local communities also buy their products. There has recently been a market identified for the same women in Cape Town. The project has had positive spin offs for the women of Madikwe, in providing income generation opportunities as well as skills development.

MADI A THAVHA - CREATIVIT Y IN CR AFT TR AINING PROGR AMME The Craft Panel had identified the universal lack of product innovation in many of the applications which have been reviewed in the past years. Numerous applicants, though having basic technical skills in creating products, tended to produce similar products with no variations. The Creativity in Craft Training Programme brought 15 producers to a single venue where they were given tools to innovate, design, explore and experiment with new products. The training programme was designed to assist craft artisans to innovate and develop new products. Madi a Thavha was appointed through a competitive bidding process to implement this project on behalf of the NAC as a Craft Initiative Project. They ran a creative workshop programme which involved wood carving, pottery techniques, textile decoration, beadwork technique, glass beads and jewellery and traditional musical instruments. For the NAC initiative project they ran workshops in the various villages for market support, technical and product development, training and mentoring programmes for various crafted products stated above. All participants involved were from the Northern Limpopo region, namely, Thohoyandou, Elim and Giyani. They also involved people living with disabilities and people living with HIV/Aids in the same project. Participants targeted were involved in the production of textile painting techniques, dying fabrics with beadwork and embroidery. Others targeted produced a range of beaded jewellery, wood carvings and manufactured musical instruments. In total there were 35 artisans involved in this project. Artworks were selected to be showcased in the public exhibition which opened on 17 May 2015. The exhibition will run until the end of October 2015. Through NAC funding the participants will be able gain exposure through the exhibition as the organisation has invited galleries, craft arts shops, interior decorators, architects, museums, cooperative businesses, embassies and government departments to visit the exhibition. Madi a Thavha Mountain Lodge is in the centre of Northern Limpopo, 10 km west of Makhado/ Louis Trichardt. It is very close to Botswana, Zimbabwe, and Mozambique. It is also well situated to the northern gates of the National Kruger Park and Punda Maria as well as subtropical of the Levubu valley and Wolkberge in Tzaneen.

Dance X Change Programme (John Hogg)

2. DANCE DANCE X CHANGE The Dance discipline supported 37 projects in the year under review. Among those highlighted is the Dance X Change Residency Programme that took place in the Garage Studios in Oâ&#x20AC;&#x2122;kiep, Northern Cape from 3- 8 November 2014. The second half of the project took place during the Dance Umbrella from 26 February to 15 March 2015. The Dance X Change process in Oâ&#x20AC;&#x2122;Kiep was facilitated by John Linden from the Garage Dance Theatre and exJazzart choreographer Sbonakaliso Ndaba. The focus of the workshops included training in dance technique, choreography as well as interactive workshop classes for people in the Northern Cape Namakwa region. The participants consisted of six (6) individuals from the Northern Cape region, two (2) professional dancers, two (2) first year dance trainees, one (1) community teacher, a young adult who attends part time evening classes, two (2) dance instructors (one of whom received no financial support, since she works for the Northern Cape Department of Sport, Art and Culture) and two (2) dance students and an urban street dance expert from Ocean View. Of the eleven (11) participants, two (2) were provided with a choreographic and teaching focus, three (3) with a teaching focus

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Dominion (John Hogg)

only and the balance were instructed in dance technique. The two (2) potential choreographers, Byron Klassen and Lethlogonolo Nche, came prepared with material which was dissected, critiqued and reworked in the afternoon sessions. Klassen and Nche, presented the outcomes of the Dance X Change Programme at the Dance Umbrella 2015. They were part of the Young Choreographers Programme held on the 7 – 8 March 2015 at the Wits Theatre. The creative and technical development of the two choreographers was noted by all participants and audiences who were part of the programme. The recommendations for both Klassen and Nche to create a work to be showcased at Dance Umbrella 2015 was a good decision since they both displayed potential as dance-makers and had attended all three residencies initiated by Dance Forum since 2012. Through the Dance X Change and the success of the programme, the four dancers were able to receive employment contracts from the Garage Dance Company, two trainee and two permanent placements. One of the successes is that the Garage Dance Ensemble in the Northern Cape managed to market the workshops/residency to dance practitioners in the Northern Cape region. The final attendance included people from O’kiep, Kimberly as well as Cape Town. The Dance X Change Residency Programme was able to address NAC’s strategic goal three, which is to develop sustainable capability that enables the arts to entertain, enrich and inspire and the Department of Arts and Culture’s strategic goal of job creation. BUSINESS EDUCATION AND ARTS MENTORSHIP Business Education and Arts Mentorship had been envisaging hosting the Annual Dance Day South Africa at Mary Fitzgerald Square in Newtown,

028 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

Johannesburg. The NAC funding was able to add value to the success of the event. Furthermore, to have the Third Annual Dance Day South Africa featured at the 2014 Arts Alive International Festival’s main programme was another feat. The Third Annual Dance Day South Africa was held on 6 September 2014 at the Joburg Arts Alive International Festival at the Mary Fitzgerald Square in Newtown (Gauteng Province). The aim of this day was to celebrate dance, develop new audiences for dance and use dance as a communication medium and convenient wagon to a healthy lifestyle. In addition to that, the event offered a medium of expression, an opportunity for storytelling and created national awareness for dance. Through the implementation of the Annual Dance Day, Business Education and Arts Mentorship was able to create employment opportunities for 56 artists. Out of the 56 artists, 47 were dancers from different areas in Gauteng. The significance for the Annual Dance Day is to celebrate and to create a platform where both professionals and amateur dancers and choreographers could work together without boundaries, as well as to create new audiences for dance. It was a platform that included different genres such as hip-hop, contemporary, pantsula and African dances. The Annual Dance Day South Africa event is a grassroots initiative that encourages the nation, young and old, to dance. Individuals, families, organisations and communities from across the nation come together through their creative expression in dance. The Annual Dance Day was able to address the NAC’s strategic goals which are to increase access to markets and enabling creative engagement for South African arts and artist, and to strengthen the practice of the arts.

3. LITERATURE THE SOUTH AFRICAN LITER ARY AWARDS (SALA) In the period under review 61 literature projects were supported. One of the organisations highlighted here is wRites Associates. The South African Literary awards (SALA) was founded by the wRites Associates, in partnership with the National Department of Arts and Culture (DAC), supported by the Sowetan Newspaper (print media partner) and Nutrend Publishing (publishing partner). SALA has played a significant role in encouraging and motivating writers to raise the bar in their literary endeavours. The primary aim of the South African Literary Awards is to pay tribute to South African writers who have distinguished themselves as ground breaking producers and creators of literature, while it celebrates literary excellence in the depiction and sharing of South Africa’s histories, value systems and philosophies and art as inscribed and preserved in all the languages of the Republic. These awards aim to become the most prestigious and respected literary accolades in South African literature. The NAC has initiated and inspired the establishment of the First-Time Published Author Award since 2009 to promote the work of authors who published for the first time in their literary career. During 2014, the First-Time Published Author Award was awarded to Claire Robertson whose book is titled The Spiral House. SALA has led to the establishment of the following legacy programmes: 1. Band of Troubadours: an anthology of all the SALA recipients from 2005-2007, which was launched in 2008. 2. The Miriam Tlali Reading and Book Club: a programme named after literary veteran and first black South African woman to publish a novel in English. 3. The Poet Laureate Programme: a literary engagements programme in honour of activist artist and poet Prof. Keorapetse Kgositsile, the title was bestowed on him in December 2008. 4. The National Creative Writing Skills Development Programme: a programme aimed at creating a platform for literary engagements for unpublished talented writers to showcase their work, and while introducing the South African literature and legendary writers to the youth and community at large. 5. Former President Thabo Mbeki, followed by Dr Mustapha Sidiki Kaloko – AU Commissioner of Social Affairs at the African Union

Commission (2013), delivered the inaugural International African Writers Day Lecture at the Africa Century International African Writers Conference. SALA OVER ALL CATEGORIES First-Time Published Author Award (NAC initiated and funded project) 1. South African Poet Laureate Prize 2. Lifetime Achievement Literary Award 3. Posthumous Literary Award 4. Nadine Gordimer Short Story Award (for writing in African Languages in South Africa) 5. K. Sello Duiker Memorial Literary Award 6. Literary Journalism Award 7. Literary Translators Award 8. Poetry Award 9. Non-Fiction Literary Awards 10. Chairperson’s Award ACADEMIC AND NON–FICTION AUTHORS ASSOCIATION OF SOUTH AFRICA (ANFASA) ANFASA is an advocacy group for fiction and nonfiction authors that aims to uphold and enhance the profile and status of authors in South Africa, through advocating for the recognition of their work and protection of their rights, in collaboration with all stakeholders in the book value chain. The NAC has over a period of time received a high volume of applications from aspirant writers who sought to profile and document the life history of iconic people in our society. After careful perusal of their applications, the Literature Advisory Panel felt that there was a need for biography writing workshops which are specifically tailored to meet the artistic needs of biography writers. For the promotion and enhancement of the love of biography writing, the National Arts Council took the initiative to partner with an organisation that could conduct such workshops for the benefit of aspiring biography authors ANFASA was identified as the suitable provider with knowledgeable insight and expertise to transfer skills for the benefit of biography writers. The biography writing workshops have benefitted aspiring biography authors in different provinces of South Africa. This kind of skills transfer added more value into the career prospect of the future biography writers who want to profile iconic people who helped to shape our country. The provinces represented were Free State, Gauteng, Eastern Cape, Limpopo, North West and KwaZulu-Natal.

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4. MULTIDISCIPLINE GAVIN KR ASTIN: #OMNOMNOM The NAC supported 17 Multidiscipline projects during the 2014/2015 financial year. Gavin Krastin’s project is highlighted in this report. With support from NAC in 2014 Krastin presented his live art project #omnomnom at the National Arts Festival 2014, which received a Standard Bank Silver Ovation Award. Also with the support of the NAC, the work will travel to Afiriperfoma Performance Art Biennale in Lagos, Nigeria, in September/November 2015. Krastin is an award-winning South African performance artist, theatre-maker, choreographer and designer-scenographer with an interest in the body’s representation, limitation and operation in alternative, layered spaces. His work is inspired by his immediate South African environment and the history embedded in its shifting socio-political climate. Apart from operating within the conventional theatre context, Krastin advocates the migration towards unconventional spaces where unknown risk factors are imminent. The social underpinnings and philosophies of space intrigue him and inspire a questioning of operational systems, thresholds, proximities and the politics of boundary-crossings and transgressions (and the

The National Council for Persons with Physical Disabilities SA

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myth making thereof) in his work. His approach offers opportunity for intimate engagement, immersive journeys and unique participatory involvement. Rather than approaching creative endeavours as prescriptive, he works from a basis of interrogation and a need to experiment with conventional/familiar mediums and images in order to catalyse debate, conversation and connection. As 2014 was a considerable milestone year for South Africa, full of celebration, the work spoke to and critiqued the many celebrations that took place at the time in the name of marking the country’s 20th anniversary of freedom and equality. #omnomnom generated a unique and immersive experience in that the work was a performance version of a dinner party and celebration, in which audiences eat, share and perform with each other, as equals; a live art event that provides a space of intimate sharing, and a statement that delicately balances and treads upon a double-edged blade of ‘commemorating’ and ‘un-commemorating’, celebrating and forgetting. The work drew from a culturally-appropriated demonstration, or ritual, of opulence and celebration that is quickly growing in popularity in South Africa. This practice is called ‘nyotaimori’ and involves eating and drinking lavish and exotic foods off the naked bodies of beautiful females. This practice in South Africa has enraged much of the public, who felt such an act is an attack on the female body, fostering patriarchy and phallocentrism. Krastin’s #omnomnom presents a re-imagining and subversion of this food ritual and celebration, and how the performance of food as a measurement of class and the body has been amplified in the age of social media (hence the title, referring to social media hashtags that signify food and eating). He presents works and workshops at numerous festivals in South Africa and internationally. Most notable works include the collaborative site-specific work Discharge, commissioned by the National Arts Festival in 2012. The ritualistic Rough Musick, commissioned by the National Arts Festival in 2013 and which has also been presented at the Cape Town based Theatre Arts Admin Collective in 2013, at World Stage Design and Sceno-fest 2013 in Cardiff (Wales) with the support of the National Arts Council, at the Gordon Institute of Performing and Creative Arts Annual Live Art Festival in 2014 in Cape Town and at Chapter Arts Annual Experimentica Festival in 2014. In 2014 he presented the ‘invisible performance’ entitled I Live Here at the Unnoticed Arts Festival in the

Youth Orchestral Experience - Eastern Cape Philharmonic Society

Netherlands and a collaborative work entitled Epoxy at Visualeyez Performance Art Festival at Gallery Latitude 53 in Canada as well as participated in the public art OpenLab residency in the Free State province. Very recently Krastin presented On Seeing Red at the Dance Umbrella in Johannesburg and presented an alternative version, On Seeing Red and other fantasies, at the National Arts Festival as well as facilitating skills-development workshops at the Prague Quadrennial of Performance Design and Space in June 2015. Krastin holds a Masters of Arts Degree in choreography and performance (having received a bursary from the National Arts Council in 2011) and an undergraduate Degree in Drama and Art History and Visual Culture. The dovetailing of these various influences is evident in his multidisciplinary works which constantly seek to interrogate space, choreograph the visual and augment the body-silhouette. He has lectured at Rhodes University and worked with the First Physical Theatre Company in various capacities and is currently teaching and lecturing on part time basis at the University of Cape Town Drama Department and producing work from his studio in Cape Town.

5. MUSIC MANGAUNG STRING PROJECT The Music discipline supported 24 projects in the year under review. Among those highlighted is the Mangaung String Programme. The Mangaung String Programme is a developmental instrumental music programme that provides access to historically disadvantaged communities and communities where music tuition has not been available in the Free State. Pupils from surrounding schools in previously disadvantaged areas of the Free State are brought to Bloemfontein to receive extra intensive

individual tuition in cello, violin and double bass with established professional teachers and also feature in concerts with teachers and guests of the programme. They are able to join the existing Mangaung String Project Orchestras that rehearse on Friday afternoons and attend lessons on Saturday mornings. The project hosts an orchestra camp which would normally take place during the last day of school term in the Free State. In 2014, 111 pupils took part in the camp and concert which was held in the Musicon Hall. Eight of these pupils were from Kroonstad, nine were from Thaba Nchu and 94 were from Mangaung. ENLIGHTEN EDUCATION TRUST’S HERMANUS ACADEMY OF MUSIC (HAM) HERMANUS ACADEMY OF MUSIC PR ACTICAL IN-SCHOOL TR AINING HAM is currently training 13 marimba bands in five local primary schools: Gansbaai Primêr, Botrivier Primêr, Kleinmond Laerskool, Okkie Smuts Laerskool and Hermanus Primary. Most of the 142 learners participating in these bands are drawn from local previously disadvantaged communities. In addition to the learners, five teachers undergo training on an on-going basis to assist with the bands. Botrivier Primêr has entered two marimba bands and Kleinmond Laerskool, one band in the International Marimba and Steelpan Festival which took place in Bedfordview on 1–2 August 2015. In addition, three of the school bands have played at seven local events since the beginning of the year, and the Botriver band recently took part in the Suidoosterfees in Cape Town. Steelpan band training (in an advisory capacity) is also undertaken on a regular basis at the Hermanus Primary School. There are 16 children in the band and one teacher also receives ongoing training. Two choirs in two schools – Hawston Primêr and Gansbaai Primêr – are being trained,

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although work with the Hawston School Choir is currently in abeyance, due to disruptions caused by building work taking place at the school. The Gansbaai choir is currently being prepared for participation in the Overberg Eisteddfod. 16 learners and one teacher are involved in the choir. Recorder tuition is being provided to Grade 3 learners at Kleinmond Laerskool and the children are making good progress. GR ADE 10 – 12 (FET) SUBJECT MUSIC: All components of the music curriculum – practical, theoretical, aural, sight reading, technical exercise and general music knowledge – are being taught to music students at Hermanus High School. In addition, a talented Grade 9 pupil who wishes to study Music as a matric subject from Grade 10 onwards is being given private tuition to bring her up to the required standard for admission. TEACHER WORKSHOPS (LIFE SKILLS – MUSIC): Grade 4 – 6. There is currently very limited life skills (music) teaching taking place in local schools. Teachers do not view this as a priority and tend to focus on key subjects such as numeracy and literacy. However, the Enlighten Education Trust endeavours to inspire teachers to fulfil the assignments stipulated in the subject curriculum and ongoing support is given on request. A teachers’ workshop took place at HAM during the month of May.

6. THEATRE EPM PROJECTS The Theatre discipline supported 47 projects in this financial year. Among those highlighted is Vaselinetjie written by Anoeschka van Meck, presented by EPM Projects.EPM Projects was established in March 2010 as a producing and arts management company with the aim to provide great quality productions that are proudly South African. They strive to deliver a message and educate people on and off the stage. Mentoring young talent and giving them confidence to be the best they can be, is one of their main objectives. The organistation asserts that the arts have a voice and they want South Africa to listen. VASELINETJIE WRIT TEN BY ANOESCHKA VAN MECK The theatre discipline supported 47 projects in this financial year. Among those highlighted is Vaselinetjie written by Anoeschka van Meck. This production is one of South Africa’s bestselling books and is prescribed for Afrikaans First Language Grade 11 learners. The story is about a young girl nicknamed Vaselinetjie, who was sent to live in an orphanage where she met people of different races and backgrounds. Her stay at the orphanage is centered on the challenge she faces in discovering her own identity. The story took on sensitive issues such as racism, drug and physical abuse, gang violence, prostitution and Magnet Theatre Educational Trust (Marc Wessels)

AFTER-SCHOOL PR ACTICAL TR AINING: PIANOFORTÉ /KEYBOARD: Three extremely talented young pianists in Grades 8, 9 and 11 at Hermanus High School are receiving private tuition at either no, or minimal cost. They are being prepared for Unisa exams, as well as participation in the Overberg Eisteddfod and in one case, for the

Stellenbosch Kunswedstryd. In addition, two young adults are being given private tuition. One is a beginner from one of the local townships, who pays nothing at all for his lessons, and the other, one of the UWC students, for her Unisa Licentiate.

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Ubu and the Truth Commission (Luke Younge)

theft. The book was adapted to a stage play by the Her-Piet Events from Cape Town and consisted of 12 young ambitious actors from all over South Africa that were chosen out of KykNET National Acting Competition in 2014. The play went on a tour and visited secondary schools in the Western Cape Province. SPLENDOR TR ADING AND PROJECTS Splendor Trading and Projects presented Mating Birds during the year under review. The entity was established as an entrepreneurial vehicle to assist arts organisations with skills in management, project reporting and to take over the South African Theatre Initiative (SATI) network adminstration. The entity provides entrepreneurial skills to arts organisations, conceptualises new initiatives and assists entities in project management, monitoring and evaluation as well as capacity building. Mating Birds, written by Lewis Nkosi, is a story about Ndi Sibiya, a black man from Mkhumbane who was raised by a traditional and respectable family. Sibiya grew up during the Apartheid era and was confined by laws of segregation. He became attracted to Veronica Slater, a young white woman. With time, the two characters developed a nonverbal relationship because the laws did not allow for them to talk or meet. One day Sibiya and Slater met at Veronicaâ&#x20AC;&#x2122;s house. Ndi was caught by the police, charged with rape and sentenced to a lifetime in prison. The play was staged at the State Theatre in Pretoria.

Ubu and the Truth Commission (Luke Younge)

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Omar Badsha - Dorothy Nyembe, celebrating after being released from a 15 year prison sentence, 1984

7. VISUAL ARTS OMAR BADSHA: PHOTOGR APHS BET WEEN 1965 AND 2013 The Visual Arts Discipline supported 60 projects in the year under review. Among those supported was Omar Badshaâ&#x20AC;&#x2122;s project, a retrospective exhibition of photographs, which is highlighted in this report. Badsha is a self-taught, award winning artist and photographer. Badsha played an active role in the South African liberation struggle as a cultural and political activist and trade union leader. Badsha was born in Durban in 1945 and grew up in a Gujarati Muslim family. His grandparents immigrated to South Africa from India in the late 1890s and the family forms part of the small, influential Gujarati Vhora Muslim community. His father, Ebrahim Badsha, was a pioneering artist and a major influence on his sonâ&#x20AC;&#x2122;s artistic and political activities. In 1965 Badsha came under continued harassment by the security forces for his activism and was denied a passport to travel abroad to study.

034 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

In the same year he submitted a small wood-cut to the Arts South Africa To-Day exhibition which was awarded the Sir Basil Shornland Prize. For the next eight years he exhibited extensively, winning a number of prizes for his works. Badsha, one of a few artists working outside the commercial whitedominated gallery circuit, refused to exhibit his works at segregated venues and state-sponsored international events. It was during this period that he met and developed a very close friendship with renowned artist Dumile Feni, who intermittently lived and worked with Badsha in Durban for about eight months before he left for London. In 1970 Badsha worked alongside Rick Turner, Eli and Mewa Ramgobin and other Natal Indian Congress activists on trade union and political issues. Together with Turner and Laurie Schlemmer, he established the Education Reform Association, and later the Institute of Industrial Education. The revival of the Natal Indian Congress and the re-emergence of the trade union movement saw him working alongside Harriet Bolton, David Hempson, Halton Cheadle and Harold Nxasana. They transformed the General Factory Workers Benefit Fund into an integral part of the independent non-racial trade union movement. Badsha served on the board of the IIE and the Labour Bulletin, a publication dedicated to the development of the trade union movement. Early in 1974 he played a key role in the establishment of the Chemical Workers Industrial Union and became its first secretary. Badsha took up photography in 1976 and three years later, with Fatima Meer, published his first book of photographic essays, A Letter to Farzanah, which was immediately banned. He began working as a documentary photographer and political activist in the Inanda area of Durban and in 1984, his groundbreaking book Imijondolo, documenting life in the massive informal settlements of Inanda, was published by Afrapix. In 1982 he was instrumental in establishing Afrapix, the now legendary independent photographic agency and collective. The collective played a leading role in shaping the tradition of social documentary photography and in documenting the popular struggles of the 1980s. In 1982 he also became the head of the photography unit of the Second Carnegie Commission on Poverty and Development. He travelled the country taking photographs and looking at the works of photographers, recruiting 20 of them to participate in the project.

In 1984 he edited and exhibited a collection of photographs titled South Africa: The Cordoned Heart. A book of the same title was published in 1985 and was critically acclaimed internationally as a seminal work that created a new vocabulary to tell the South African story. The exhibition travelled internationally for 10 years to major art centres in the US. Despite a great deal of international pressure on the government, Badsha was not given a passport to travel to the opening at the ICP gallery in New York. In 1987 Badsha moved from Durban to Cape Town to establish the Centre for Documentary Photography at the University of Cape Town. He became a leading artist and cultural activist in the United Democratic Front (UDF) and was one of the founding members and chairperson of the Cultural Workers Congress, an affiliate of the UDF. In the 1990s, for the first time in his life, Badsha was given a three-month passport to travel to London and the US, where he met his friend Dumile Feni, writer and ANC stalwart Wally Serote, as well as Earnest Cole. In 1990 Badsha was made head of the ANC’s Western Cape branch, spearheading the formation of FOSACO and participating in the formulation of the ANC’s cultural policies. He worked fulltime as a volunteer and head convener of the Mass Democratic Movement. Badsha also served on the political committee of the ANC’s Western Cape election campaign.

After 1994, unlike many activists, Badsha went back to civil society and was active in grassroots work among the youth and cultural workers. He was instrumental in establishing the Ikapa Arts Trust, which organised the annual Cape Town Festival. In 1997 he moved with his family to Pretoria and in 1999 established South African History Online (SAHO), a non-profit online history project which has become one of the largest history websites in Africa. In 1995 he was the recipient of a grant by the Danish Government to document life in Denmark. The exhibition of this work was opened by the then Vice-President Thabo Mbeki and the Danish Foreign Minister. Badsha travelled to India in 1996 at the request of the Indian Government and started a project to document life in his grandparents’ ancestral village in Gujarat. Badsha has been a recipient of funding support for numerous projects including South African Online History. The recent project which is funded comprised of the editing from personal archives of art works and photography done between 1965 and 2013. The aim of the project was to celebrate 20 years of democracy through staging an exhibition and producing a catalogue. The first leg of the exhibition staged at the Iziko Museum in September 2014 and afterwards toured Johannesburg, Durban and Indonesia.

Omar Badsha - Easter pageant play, Pondoland, Transkei, 1986

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Omar Badsha - Street performance, Durban 1981

2.1.4 CHALLENGES LACK OF COMPLIANCE As evidenced in the four funding sessions that the NAC had in the year under review, it has been realised that many applicants still fail to access funding due to lack of compliance to NAC funding requirements. Out of the 1 642 applications, only 453 were able to receive a positive outcome of their applications. This represents 27.6% of applications received. With the implementation of the new enhanced strategy, emerging applicants received funding from the NAC for the very first time. However, beneficiaries tend to struggle with reporting requirements. Funding is usually disbursed in tranches and beneficiaries are required to adhere to specific reporting procedures before the next tranche can be released. Delays in the releasing of subsequent tranches were due to non-compliance issues, namely, the absence of and/or expired tax clearance certificates and inadequate reports at the time of payment. LIMITED FUNDING FOR DISBURSEMENTS The NAC allocates limited funding when compared to the number of projects that apply for funding. The funding allocated is often insufficient to see the projects applied for from start to finish. Beneficiaries often have to downscale their programmes to suit the funding available from the NAC. This may often result in projects commencing later than intended because beneficiaries could still be sourcing additional funding elsewhere. This however impacts negatively on the pace of drawing down on disbursements. Furthermore, new beneficiaries, who are still inept to fundraising, are often hit hard as the projects that they have

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applied for may be negatively impacted due to insufficient funding.

2.1.5 PROGRAMME ACTIVITIES

During the period under review, the NAC issued calls to individuals and registered arts organisations involved in the art forms supported by the NAC to submit their applications for project and bursary funding. Applications were open for projects of national significance that were involved in the creation of new works, arts development, promotion of the arts and those that facilitated access to the arts and markets. Calls were clustered into performance arts and literary, crafts and visual arts. Calls for the following funding were made: • A call for applications for funding for the performing arts (dance, multidiscipline, music and theatre) and international bursaries was opened on 17 January 2014 and closed on 28 February 2014; outcomes were announced on 31 May 2014; • A call for project applications for literature, crafts and visual arts opened on 28 March 2014 and closed on 25 April 2014; outcomes were announced on 31 August 2014; • A special call for flagship projects was opened on 30 June 2014 and closed on 31 July 2014; outcomes were announced on 10 November 2014; • A call for local bursary funding applications was opened on 14 August and closed on 12 September 2014; outcomes were announced on 09 December 2014; • A call for project applications and international bursaries in all the disciplines was opened on 07 November 2014 and closed on 12 December 2014. Outcomes were announced 15 April 2015.

TABLE 5: ARTS ADMINISTRATION: TARGETS AND ACHIEVEMENTS GOAL 1

STRATEGIC GOAL 1: STRENGTHEN THE PRACTICE OF THE ARTS THROUGH FOCUSED, EFFICIENT AND EFFECTIVE GRANT FUNDING STRATEGIC OBJECTIVES

PERFORMANCE INDICATOR

ACTUAL ACHIEVEMENT 2013/2014

PLANNED TARGET 2014/2015

ACTUAL ACHIEVEMENT 2014/2015

DEVIATION FROM PLANNED TARGET FOR 2014/2015

VARIANCE FROM 2013/2014 TO 2014/2015 (IF APPLICABLE)

COMMENT ON VARIANCES

Strengthen oversight through formalised risk assessment of all projects and grants

% of projects / grants risk assessed upfront prior to final approval

Not applicable

80% of projects assessed prior to final approval

Not applicable

All disbursements made in accordance with PFMA / good governance requirements

% of disbursements made in accordance with agreed disbursement criteria

Not applicable

100% compliance with disbursement criteria

Not applicable

Reduce ‘surplus’ funds through effective oversight to a maximum of a % of projects budget

% of disbursements not made vs project budget

Not applicable

30% of disbursements not made vs. projects budget

44.5% disbursements not made versus projects budget

14.5% of disbursements not made

Not applicable

STRATEGIC GOAL: STRENGTHEN THE PRACTICE OF THE ARTS THROUGH FOCUSED, EFFICIENT AND EFFECTIVE GRANT MAKING STRATEGIC OBJECTIVES

PERFORMANCE INDICATOR

ACTUAL ACHIEVEMENT 2013/2014

PLANNED TARGET 2014/2015

ACTUAL ACHIEVEMENT 2014/2015

DEVIATION FROM PLANNED TARGET FOR 2014/2015

VARIANCE FROM 2013/2014 TO 2014/2015 (IF APPLICABLE)

COMMENT ON VARIANCES

Develop targeted grants and projects ‘products’ that ensure a balanced allocation of grant funding across all targeted disciplines and stategic imperatives

% of grants / projects covered by specific quantified grant / project ‘products’

Not applicable

50% for arts promotion, 30% for creation of new work, 20% for capacity building

54% allocated for arts promotions. 38% for creation of new work and 34.1% for capacity building

4% more for arts promotions; additional 8% for creation of new work and additional 14.1 % for capacity building

Not applicable

Leverage funding/ resources from external sources to the equivalent of 2% of NAC’s budget

% of external funding/ resources received per annum vs total budget

Not applicable

2% external funding/ resources received per annum

9.2% external funding sources for the Spotlight on South Africa project

additional 7.2% funding from external sources leveraged

Not applicable

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TABLE 5: ARTS ADMINISTRATION: TARGETS AND ACHIEVEMENTS_GOAL 2

STRATEGIC GOAL 2: EQUITY IN THE ARTS STRATEGIC OBJECTIVES

% of funding allocated for â&#x20AC;&#x2DC;equity beneficiariesâ&#x20AC;&#x2122; disbursed to targeted grouping

PERFORMANCE INDICATOR

ACTUAL ACHIEVEMENT 2013/2014

PLANNED TARGET 2014/2015

ACTUAL ACHIEVEMENT 2014/2015

DEVIATION FROM PLANNED TARGET FOR 2014/2015

VARIANCE FROM 2013/2014 TO 2014/2015 (IF APPLICABLE)

COMMENT ON VARIANCES

% of allocated funding disbursed to indigenous art forms

Not applicable

5% of allocated funding disbursed to indigenous art forms

16.96% of allocated funding disbursed to indigenous art forms

11.96% additioanal funding allocated to indigenous art forms

Not applicable

% of allocated funding disbursed to targeted rural areas / provinces

Not applicable

40% of allocated funding disbursed to targeted rural areas/ provinces

41.56% of allocated funding disbursed to targeted rural areas / provinces

1.56% additional funding allocated to targeted rural areas/ provinces

Not applicable

Number of organisations from HD provinces receiving funding

Increased number of projects receiving funding from HD provinces

% of women-led organisations and individuals receivng funding

% of allocated funding disbursed to women

Not applicable

10% of allocated funding disbursed to women

41% of allocated funding disbursed to women

31% additional funding allocated to women

Not applicable

Increased number of women-led organisations and individuals receiving funding

% allocated to organisations and individuals living with disabilities

% of allocated funding disbursed to people living with disabilities

Not applicable

5% of allocated funding disbursed to people living with disabilities

5.8% of allocated funding disbursed to people living with disabilities

8% additional funding allocated to people living with disabilities

Not applicable

Number of organisations and individuals living with disabilities

Increased number of organisations and individual people living with disabilities receiving funding

% of allocated funding disbursed to the youth

Not applicable

5% of allocated funding disbursed to the youth

50.20% of allocated funding disbursed to the youth

45.20% additional funding allocated to youth

Not applicable

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TABLE 5: ARTS ADMINISTRATION: TARGETS AND ACHIEVEMENTS_GOAL 3

STRATEGIC GOAL 3: SUSTAINABLE ARTS CAPACITY STRATEGIC OBJECTIVES

Build capacity through focused bursaries

PERFORMANCE INDICATOR

ACTUAL ACHIEVEMENT 2013/2014

PLANNED TARGET 2014/2015

ACTUAL ACHIEVEMENT 2014/2015

DEVIATION FROM PLANNED TARGET FOR 2014/2015

VARIANCE FROM 2013/2014 TO 2014/2015 (IF APPLICABLE)

COMMENT ON VARIANCES

% of funding allocated to bursaries approved in grants

Not applicable

20% of funding allocated to bursaries approved

25.63 % of funding allocated to bursaries approved

5.63 % additional funding allocated to bursaries

Not applicable

Number of individual bursary students supported

Build capacity through focused capacity development programmes

Number of programmes developed and successfully implemented on an annual basis

Not applicable

6 programmes developed and successfully implemented on an annual basis

13 capacity building programmes developed and implemented in partnership with Business and Arts South Africa

7 additional programmes developed and implemented

Not applicable

Support the development of sustainable capacity for community arts centres to be successful

Number of community arts centres considered to be functioning at an acceptable level

Not applicable

6 community arts centres considered to be functioning at an acceptable level

9 community arts centres received capacity building through the Sibikwa Arts Centre and the BAT Centre Trust

3 more community arts centres received capacity building training programme

Not applicable

Flagship projects

Number of flagship projects supported

Not applicable

Deliver 2 flagship projects

15 flagship projects delivered

13 additional flagships supported

Not applicable

Magnet Theatre Educational Trust (Marc Wessels)

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TABLE 5: ARTS ADMINISTRATION: TARGETS AND ACHIEVEMENTS_GOAL 4

STRATEGIC GOAL 4: MARKET ACCESS AND CREATIVE ENGAGEMENT STRATEGIC OBJECTIVES

PERFORMANCE INDICATOR

ACTUAL ACHIEVEMENT 2013/2014

PLANNED TARGET 2014/2015

ACTUAL ACHIEVEMENT 2014/2015

DEVIATION FROM PLANNED TARGET FOR 2014/2015

VARIANCE FROM 2013/2014 TO 2014/2015 (IF APPLICABLE)

COMMENT ON VARIANCES

Develop knowledge portal for arts communities in South Africa

Portal developed, on time, in budget in accordance with project plan and its milestones

Not Applicable

Portal developed with Rhodes University

Portal has been developed with Rhodes University

Not Applicable

Improve alignment with functional PACCs and other relevant structures

Number of functional PACCs and other structures engaged

Not Applicable

3 functional PACCs and 2 other relevant structures are engaged

Eastern Cape Provincial Arts and Culture Council, Northern Cape Department of Arts and Culture, NEPAD and, Africa Arts Institute and Business and Arts South Africa engaged

1 additional structure engaged

Not applicable

Not Applicable

TABLE 5: ARTS ADMINISTRATION: TARGETS AND ACHIEVEMENTS_GOAL 5

STRATEGIC GOAL 5: STRENGTHEN THE PRACTICE OF THE ARTS THROUGH FOCUSED, EFFICIENT AND EFFECTIVE GRANT MAKING STRATEGIC OBJECTIVES

PERFORMANCE INDICATOR

ACTUAL ACHIEVEMENT 2013/2014

PLANNED TARGET 2014/2015

ACTUAL ACHIEVEMENT 2014/2015

DEVIATION FROM PLANNED TARGET FOR 2014/2015

VARIANCE FROM 2013/2014 TO 2014/2015 (IF APPLICABLE)

COMMENT ON VARIANCES

Reduce time taken to provide answers on applications for grant/ project funding

Successful achievement of targeted turnaround times â&#x20AC;&#x201C; from receipt of completed application to approval/ rejection

Not applicable

Successful achievement of targeted turnaround time of 60 days from receipt of completed application to approval/ rejection

Successful achievement of targeted turnaround time of 51.5 days from receipt of completed application to approval/ rejection

Successful achievement of targeted turnaround time of less than 8.5 days from receipt of completed application to approval/ rejection

Not applicable

Strenghten sponsoring organisations to make grants below R50 000 though entering into MOU/SLA with identified sponsoring organisations

MOA/SLA in place with sponsoring organisations

Not applicable

2 MOA/SLA in place with all sponsoring organisations

9 institutional block bursaries supported which disbursed funding to undergraduate students

7 additional institutional block bursaries supported

Not applicable

040 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

SUMMARY OF PAYMENTS BY SUB-PROGRAMME TABLE 6: SUMMARY OF PAYMENTS: ARTS ADMINISTRATION

2014/2015

2013/2014

PROGRAMME NAME

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

ARTS ADMINISTRATION

121 447

70 240

51 207

64 712

32 240

32 472

TOTAL

121 447

70 240

51 207

64 712

32 240

32 472

The under expenditure recorded is largely due to unpaid grant commitments for which second and third tranches of payments were not claimed.

2.2 PROGRAMME 2:HUMAN RESOURCES, IT AND FINANCIAL ADMINISTRATION 1.2.1. PURPOSE OF THE PROGRAMME

The NAC’s human, information technology, administrative and financial resources are administered by a small programme that is responsible for: • Financial management; • Human resource management and development; • Information technology management and development; and • Administration management, particularly in support of grant administration.

2.2.2. STRATEGIC OBJECTIVES OF THE PROGRAMME

The objectives of the programme in 2014/2015 were to promote effective corporate governance by: • Achieving an unqualified audit report; • Ensuring compliance with relevant legislation; • Complying with the King III Report where applicable; • Monitoring and reporting on strategic objectives; • Developing systems to improve efficiency and effectiveness in the delivery of services; • Developing a skilled workforce and efficiently administer human resources; • Implementing the NAC internship programme; • Managing risks effectively; and • Implementing cost saving initiatives.

2.2.3. KEY PERFORMANCE MEASURES, TARGETS & RESULTS

The focus of the IT, HR and finance unit was on improving internal controls, management and governance. From a financial perspective, the NAC has been on a journey from a qualified audit

opinion due to certain elements pertaining to financial management. A concerted effort has been placed on improving internal controls. To this end, all prior audit findings were successfully resolved. For the first time, the NAC compiled Interim Financial Statements that were audited by the Auditor-General, further enhancing internal control systems and improving certain aspects of governance, and the NAC achieved its first clean audit during the period under review. The organisation is undertaking the journey towards maintaining a clean audit and as such has put in place an ‘Operation Clean Audit’ plan to be implemented in the 2015/2016 financial year. The organisation has also moved from manual to more automated and integrated systems This eliminates paper-heavy processes and allows for electronic audit trail and improved record keeping. The finance team is now solid and fully functional at a leadership level. The year under review was used as a base to stabilise financial and procurement management. This included resolving historical issues which lead to the NAC obtaining qualification audit opinions in the past. The focus moving forward is to improve organisational processes and policies to bring about more efficiencies and cost savings. The finance strategy will be implemented in line with the organisational strategy. The NAC has strengthened the HR function by automating most HR processes. The organisation now utilises a premier HR system that includes job management, performance management, in-house payroll functionality as well as an online employee self-service.

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

041

TABLE 7: HUMAN RESOURCES, IT AND FINANCIAL ADMINISTRATION TARGETS & ACHIEVEMENTS

STRATEGIC GOAL: ORGANISATIONAL DEVELOPMENT STRATEGIC OBJECTIVES

PERFORMANCE INDICATOR

ACTUAL ACHIEVEMENT 2013/2014

PLANNED TARGET 2014/2015

ACTUAL ACHIEVEMENT 2014/2015

DEVIATION FROM PLANNED TARGET FOR 2014/2015

VARIANCE FROM 2013/2014 TO 2014/2015 (IF APPLICABLE)

COMMENT ON VARIANCES

Provide employees with targeted training opportunities per annum in accordance with the requirements of their personal development plans

Number of training opportunities provided per annum

Not applicable

30 training opportunities for staff members

30 training opportunities provided

Not applicable

Ensure that the NAC has the ICT systems it requires to inform efficient and effective work

% of key milestones achieved on time as set out in the ICT project plan

Not applicable

90% of key milestones achieved on time as set out in ICT Project Plan

Not applicable

Number of new ICT systems implemented â&#x20AC;&#x201C; IVR

Not applicable

1 new ICT system implemented

1 new ICT system not implemented

1 new ICT system not implemented due to budgetary constraints

Not applicable

Review all grant / project related policies, procedures and contracts to ensure alignment with NAC strategy

Number of specified policies, procedures and contracts reviewed and revised

Not applicable

15 policies, procedures and contracts reviewed and revised

15 policies reviewed and revised 4 Policies reviewed and revised and 6 funding contracts reviewed

Not applicable

Revise NAC Act and submit for approval and promulgation

NAC Act reviewed and proposals for amendments submitted

Not applicable

Submit proposed amendment of the NAC Act to DAC

Submission to DAC on the proposed amendments sent

Not applicable

Effective risk management

Annual risk register maintained

Annual Risk register maintained

Annual risk register maintained

Not applicable

Unqualified audit outcome

Qualified audit outcome

Unqualified audit outcome

Clean audit outcome

Not applicable

042 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

SUMMARY OF PAYMENTS BY SUB-PROGRAMME TABLE 8: SUMMARY OF PAYMENT – HUMAN RESOURCES, IT AND FINANCIAL ADMINISTRATION

2014/2015 SUB-PROGRAMME NAME R’000

2013/2014 BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

FINANCE, IT AND HUMAN RESOURCES

27 741

30 683

(2 492)

27 628

29 467

1 868

TOTAL

27 741

30 683

(2 492)

27 628

29 467

1 868

The over expenditure recorded is largely as a result of asset depreciation and salary provisions such as leave.

2.3 PROGRAMME 3: COMMUNICATIONS 2.3.1. PURPOSE OF THE PROGRAMME

The communication programme provides the link between the NAC, stakeholders and the broader sector.

2.3.2. STRATEGIC OBJECTIVES OF THE PROGRAMME

The 2014/2015 objectives of the programme were to advocate the arts and the work of the NAC by: • Developing a clear positioning for the NAC brand; • Ensuring stakeholder understanding of NAC’s role and positioning in the arts ecosystem; • Initiating web and social media based campaigns to promote awareness of the arts; • Improving relations with provincial stakeholders; • Creating partnerships with national stakeholders; and • Effectively utilising traditional, electronic and social media.

2.3.3. KEY PERFORMANCE MEASURES, TARGETS AND RESULTS

Communications is central to the work of the NAC, and during 2014/2015 a range of initiatives were implemented in the process of developing a clear positioning for the NAC brand and promoting awareness and appreciation of the arts. In all its activities, the NAC maintains open dialogue with its stakeholders as this is vital for the development of the organisation, and provides a vital impetus for the effective execution of our mandate. To that end, the NAC conducted a stakeholder survey to gain strategic insight on how the organisation should be communicating with various stakeholder groups. Findings from the survey will be utilised for the development of a brand communication strategy for the NAC. Four (4) newsletters were produced and distributed to various stakeholders during the period under review. The NAC implemented a robust media relations programme to share information with the arts community and the broader public. The media relations programme secured a total of 176 media stories. The organisation utilised digital platforms to communicate with stakeholders and a focus was placed on social media which saw substantial growth in digital engagements.

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

043

TABLE 9: COMMUNICATIONS: TARGETS AND ACHIEVEMENTS

STRATEGIC GOAL: INCREASED ACCESS TO THE ARTS THROUGH ADVOCACY STRATEGIC OBJECTIVES

PERFORMANCE INDICATOR

ACTUAL ACHIEVEMENT 2013/2014

PLANNED TARGET 2014/2015

ACTUAL ACHIEVEMENT 2014/2015

DEVIATION FROM PLANNED TARGET FOR 2014/2015

VARIANCE FROM 2013/2014 TO 2014/2015 (IF APPLICABLE)

COMMENT ON VARIANCES

Develop clear positioning and identity for NAC brand to ensure stakeholder understanding of NAC’s role and poitioning in arts ecosystem

Brand recognition and understanding as evaluated by independent stakeholder survey

Not applicable

Brand recognition and understanding through stakeholder survey

Stakeholder survey completed

Not applicable

Initiate web and social media based campaign to promote awareness of the arts

Successful achievement of campaign milestones

Not applicable

64 successful campaign milestones

176 successful campaign milestones achieved

112 successful campaign milestone

Not applicable

Develop online database of SA artists and their capabilities

Successful achievement of project milestones

Not applicable

Develop the functionality of the GMS to include an online database

Developed the functionality of the GMS to include an online database

Not applicable

SUMMARY OF PAYMENTS BY SUB-PROGRAMME TABLE 10: SUMMARY OF PAYMENTS – COMMUNICATION

2014/2015

2013/2014

SUB-PROGRAMME NAME R’000

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

BUDGET R’000

ACTUAL EXPENDITURE R’000

(OVER)/ UNDER EXPENDITURE R’000

MARKETING

1 319

1 302

1 252

1 042

292

TOTAL

1 319

1 302

1 252

1 042

292

044 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

3. NAC Grant Beneficiaries 2014/2015 3.1 OVERVIEW In the year under review, the NAC provided funding in a range of categories to 4 594 individuals and arts organisations in support of the targets and objectives outlined in the APP for 2014/2015. In terms of bursaries, 75 bursaries were provided directly to applicants for postgraduate studies and 31 institutions were supported with bursaries for students at undergraduate level and those enrolled in vocational education and training programmes.

3.2 PROJECT FUNDING 2014/2015 a. ORGANISATIONAL PROJECT FUNDING Ifa Lethu Foundation

TABLE 11: ORGANISATIONS RECEIVING PROJECT FUNDING 2014/2015

CRAFT FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

C00415

Nshalati Business Enterprise

Tinyiko J Mthombeni

Limpopo

20 000.00

C00515

Limpopo Arts and Culture Association

James Mabela

Limpopo

120 000.00

C00615

TTT Foundation

Vulisango Ndwandwa

North West

150 000.00

C00915

Noko Designs

Bethuel Mapheto

Gauteng

30 000.00

C01215

LA Maison Africane t/a Design Africa

Rosemary Newman

Western Cape

40 000.00

C01315

The Durban African Arts Centre Association

Sharon Crampton

KwaZulu-Natal

60 000.00

C01815

Hillcrest Aids Centre Trust

Paula Thomson

KwaZulu-Natal

28 950.00

C01915

Prince Studio Waste

Sthembiso Thwala

Gauteng

20 000.00

C02415

Mtofo Trading Enterprise

Hlengiwe Zungu

KwaZulu-Natal

15 000.00

C02715

Shadow Jewellers

Shadrack Mogoane

Gauteng

20 000.00

C03115

Ntfulwini's Trading

Gcina P Mamba

Mpumalanga

10 000.00

C03515

Siyabusa Commercial Services PTY

Bonginkosi Nkosi

Mpumalanga

25 000.00

C04315

Intando Community Project

Lindiwe M Maphanga

KwaZulu-Natal

10 000.00

C04715

Kamusha ( PTY) Ltd

Nompulelelo Mkhize

KwaZulu-Natal

10 000.00

C05215

The Hands of Soweto Art Work

Sindisiwe Mazibuko

Gauteng

30 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

045

FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

C05815

Masihlume Leather Craft and Multipurpose Co-op

Michael Nogogo

Eastern Cape

10 000.00

C05915

Nyathi Arts Creations

Leonard Hlanga Nyathi

Gauteng

10 000.00

C06215

Vukudle Ngwane Sewing Co-operative Limited

Jeneta Eunice Mavuso

Mpumalanga

10 000.00

C06315

The Ekujabuleni Workshop for People with Disability

Hilda T Sibanda

Mpumalanga

50 000.00

C06515

Flock Ladies of the Karoo

Zahn C Spies

Northern Cape

20 000.00

C06715

Sluvin Trading cc

Silungile Mokoena

KwaZulu-Natal

10 000.00

C06915

Imbali Visual Literacy Project

Justine Watterson

Gauteng

15 000.00

C07115

Nomanzi Beads Arts And Craft Import Trading Co-Operative

Gugu Sethebe

KwaZulu-Natal

20 000.00

C07215

Odiyweni Co Operative Limited

Thembisile J Nala

KwaZulu-Natal

10 000.00

C07615

Association for the Physically Challenged (Pietermaritzburg and Midlands Branch)

Yolelwa Mbanjwa

KwaZulu-Natal

21 250.00

C07715

Sizanokuhle Community Organisation

Bonisiwe Biyela

KwaZulu-Natal

10 000.00

C07915

Nkosimbeke Primary Co-operative Limited

Thabisile Khwesa

KwaZulu-Natal

10 000.00

C08015

Tshepong Centre for the Disabled

Claire Hoff

Gauteng

10 000.00

C08115

Arthurstone Art And Craft cc

Hendry Ngobeni

Mpumalanga

15 000.00

C08315

Stellenbosch Arts Association (SAA)

France Beyers

Western Cape

39 000.00

C08415

Khwezi Lokusa Textiles

Vivia B Mafilika

Eastern Cape

25 000.00

C08515

Masande Cultural Services Co-op

Avis T Mapetshana

Eastern Cape

25 000.00

C08615

Naniphi Cane Weaving Co-operative

Mchweli Vava

Eastern Cape

30 000.00

C08815

Endulo Bafazi Cultural Primary Co-op Ltd

Nozoko C Mahlombe

Eastern Cape

20 000.00

C09015

Ibhongo Le Mbizana Co-op Limited

Nomapasika Nakwa

Eastern Cape

10 000.00

DANCE FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

D00115

Esikangwane Dance and Theatre Creation

Nhlanhla Nkone

Gauteng

50 000.00

D00215

Vuyani Dance Theatre

Molebogang Mokomele

Gauteng

120 000.00

D00615

KZN Dance Link

Nandini Bookhan

KwaZulu-Natal

120 000.00

D00815

Rea Iketsetsa Arts Project

Sibusiso Twala

Gauteng

50 000.00

D00915

Dance Forum

Lindiwe Lekaseph

Gauteng

120 000.00

046 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

D01515

Soweto Community Dance Project

Carlie Dibakoane

Gauteng

80 000.00

D01615

VNTM Project & Perfoming Art

Martha Mohasoa

Gauteng

80 000.00

D01815

Fihla Dance Productions

Mthunzi Fihla

Gauteng

50 000.00

D01915

Moving Into Dance Mophatong Trust

Jabulani Nyadeni

Gauteng

120 000.00

D02015

Sarvavidya Natyaalaya

Anusha Pilay

Gauteng

50 000.00

D02115

The Forgotten Angle Theatre Collaborative

Peter J Sabbagha

Gauteng

120 000.00

D02315

Justice and Women

Jennifer Bell

KwaZulu-Natal

50 000.00

D02715

Business Education and Arts Mentorship

Itumeleng Hlapane

Gauteng

50 000.00

D02815

Flatfoot Dance Company

Lliane Loots

KwaZulu-Natal

80 400.00

D03215

The Wentworth Arts and Culture Organisation

Jarrod Watson

KwaZulu-Natal

120 000.00

D03415

7 Crowns Group PTY LTD

Boitumelo Letsoenyo

Gauteng

40 000.00

D03615

First Physical Theatre Company

Thaila Larick

Eastern Cape

72 693.00

D03715

Gauteng Dance Manyano

Mbongeni Bodlani

Gauteng

120 000.00

LITERATURE FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

L00215

Puo Educational Products

Nthabiseng Sibanda

Gauteng

50 000.00

L00815

Unity and Cultural Diversity Council

Omphile L Ledwaba

Limpopo

50 000.00

L01615

Knysna Literary Festival

Sasha Campbell

Western Cape

60 000.00

L01915

The South African Literary Awards

Morakabe Seakgwa

Gauteng

60 000.00

L02415

Omo Ole Books

Trevor Mokeyane

Free State

34 000.00

L02515

Arts Scene Foundation

Kgotso A Pebane

Northern Cape

50 000.00

L03115

Puku Children's Literature Foundation

Elinor Sisulu

Gauteng

60 000.00

L03515

Human Rights Media Centre

Shirley Gunn

Western Cape

60 000.00

L04115

South African Book Development Council

Elitha M Van Der Zandt

Western Cape

60 000.00

L04215

Centre for Creative Arts (UKZN)

Tiny Mungwe

KwaZulu-Natal

60 000.00

L04815

Unomthandazo Company

Nomthandazo Hlongane

Gauteng

50 000.00

L05115

Cover2Cover Books

Dorothy C Dyer

Western Cape

30 000.00

L05415

Open Book Cape Town

Frances Murrey

Western Cape

60 000.00

L05515

SA Development, Research and Training Institute

Dr Brian E Walter

Eastern Cape

50 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

047

MULTIDISCIPLINE ORGANISATION/ INSTITUTION

CONTACT/ PROVINCE CO-ORDINATOR

APPROVED AMOUNT

A00115

Manyanani Cultural Association

Mzomhle Mwahleni

Eastern Cape

50 000.00

A00415

Vamuch Multi â&#x20AC;&#x201C; Media

Nomathamsanqa Nomlala

Eastern Cape

100 000.00

A00515

Hamburg Artist Retreat T/A Emthonjeni Arts

Nomsa Mazwai

Eastern Cape

100 000.00

A00715

Kuns Onbeperk

Rhode Snyman

Western Cape

100 000.00

A00815

Cape Mental Health

Derick Houston

Western Cape

100 000.00

A01215

Jabulani Nonke Project

Goodlord Zulu

Gauteng

100 000.00

A01315

Ingxubevange Art Annual Festival

Esther Mavuso

Gauteng

100 000.00

A01415

Amos/Kgaphamadi Community Organisation

Amos Jiyane

Mpumalanga

80 000.00

A01615

The Khomisoaqua Khoisan Tribal House of Tshwane

Stevie Maritz

Gauteng

80 000.00

A01715

Eldos Arts Festival PTY LTD

Natasha Armien

Gauteng

100 000.00

A01815

Campus After Hours

Prof Cosbie Mbele

Gauteng

80 000.00

A01915

Pskm Development Solutions

Phumeza Skoti

Eastern Cape

100 000.00

A02115

Universe Deaf Theatre

Dale Holmes

Western Cape

80 000.00

A02215

Zwelethemba Arts and Culture

Mcebo Kolo

Western Cape

80 000.00

A02315

Laeveld Nasionale Kunstefees t/a Innibos

Andrew Lubbe

Mpumalanga

100 000.00

A02415

Inqubeko Projects NPO

Sbongiseni Gumede

KwaZulu-Natal

100 000.00

A02515

Reteng Business Services

Galaletsang Medupe

Gauteng

100 000.00

Nongogo (Ruphin Coudyzer)

FUNDING NO

048 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

MUSIC FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

M00115

Institute for Music & Indigenous Arts Development

Cornelius Werner

Western Cape

50 000.00

M00315

Kimberley Academy of Music

Estelle Vorster

Northern Cape

83 000.00

M00415

Isupport Music Business

Marlijn Knol

KwaZulu-Natal

100 000.00

M00515

Music Academy of Gauteng

Ramakhobothla Meloa

Gauteng

200 000.00

M00615

Enlighten Education Trust

Magriet Peter

Western Cape

110 000.00

M00715

Pascap Trust

Mhoto Tito

Eastern Cape

100 000.00

M00815

Sing South Africa

Unathi Mtirara

Gauteng

250 000.00

M00915

The Buskaid Trust

Rosemary Nalole

Gauteng

150 000.00

M01015

Ionian Music Society

Lindimuzu MNgoma

Gauteng

100 000.00

M01115

Tembaletu Trust

Vicky Robertson

KwaZulu-Natal

100 000.00

M01215

Pietermaritzburg Amateur Music Society

Irene Dugmore

KwaZulu-Natal

30 000.00

M01315

I-Afrika Theatre Education

Themba Malobola

Gauteng

100 000.00

M01415

African Cultural Organisation of South Africa

Michael Masote

Gauteng

200 000.00

M01515

Breytenbach Cultural Centre

Theo Kemp

Western Cape

70 000.00

M01615

Free State Symphony Orchestra

Pieter Moolman

Free State

150 000.00

M01715

Mangaung String Programme Trust

Peter Guy

Free State

105 000.00

M01815

Masifunde Learner Development

Msikelelo Moli

Eastern Cape

40 000.00

M01915

Clermont Choir Foundation

Wiseman Mkhize

KwaZulu-Natal

200 000.00

M02015

The Keiskamma Music Academy

Anthony Drake

Eastern Cape

110 000.00

M02115

South African History Archive Trust

Catherine Kennedy

Gauteng

80 000.00

M02215

Mvuleni Publishing

Sydney Mnisi

Gauteng

150 000.00

M02315

Cape Town Opera

Michael Williams

Western Cape

250 000.00

M02415

Bloemfontein Menâ&#x20AC;&#x2122;s Choir

Anna Sophia Van der Walt

Bloemfontein

100 000.00

FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

T00115

Swahombe Dramatic Ensemble

Lorraine Laka

Limpopo

60 000.00

T00215

Central Gauteng Mental Health Society

Charlene Sunkel

Gauteng

65 900.00

T00415

Ubumba Theatre Productions CC

Lindiwe Mzolo

Gauteng

20 000.00

THEATRE

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

049

FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

T00615

Free At Last Productions

Nondumiso Sithole

Gauteng

86 000.00

T00715

Themba Interactive Initiatives For Life

Ayanda Khala-Phiri

Gauteng

67 500.00

T00815

Lentswe Arts Projects

Karabo Kgokong

North West

80 000.00

T01015

Dinaledi Dramatic Arts

Tsheko Mooi

Gauteng

60 000.00

T02215

African Tree Productions

Zukiswa Nzo

Gauteng

70 000.00

T02315

Spotlight Creation (PTY) LTD

Tshepo Mashile

Gauteng

62 000.00

T02915

Bosweu Entertainment (PTY) LTD

Mosweu Ketlele

Gauteng

50 000.00

T03015

From the Hip: Khulumakahle

Anne Lammer

Western Cape

100 000.00

T03615

Kambro Diggers Primary CoOperative Limited

Merelie Keller

Western Cape

80 000.00

T03715

Nobleeye Media

Theo Thabapelo

North West

51 000.00

T03915

Splendor Trading and Projects

Mpho Molepo

Gauteng

50 000.00

T04015

Motswako Performing Artists

Abbey Maeane

Gauteng

50 000.00

T04315

Achievers Theatre Company

Wasley Makola

Limpopo

41 400.00

T04415

Cape Heart Community and Educational Theatre Co

Peter Abrahams

Western Cape

50 000.00

T04515

African Tiles

Zolani Mfama

Western Cape

35 000.00

T04615

Her-Piet Events and EPM Projects

Hermanus Pierters

Western Cape

100 000.00

VISUAL ART FUNDING NO

ORGANISATION/ INSTITUTION

CONTACT/ CO-ORDINATOR

PROVINCE

APPROVED AMOUNT

V00415

The JK Mohl Art Legacy Foundation

Busane Moiloa

Gauteng

50 000.00

V00515

Harlequin Foundation

Cindy S Willcock

Western Cape

40 000.00

V01715

Trendsetters Youth Foundation

Bokang Mankoe

Gauteng

25 000.00

V02015

Buntuzim Media Production

Siphiwe Ngwenya

Western Cape

30 000.00

V02815

Room Space & Projects (t/a Room)

Maria FR Reguero-Wessels

Gauteng

50 000.00

V03615

The Assemblage Trust

Anthea Pokroy

Gauteng

40 000.00

V04115

Art Source South Africa

Les Cohn

Gauteng

100 000.00

V04715

Ithuba Arts Fund

Lavendhri Arumugam

Gauteng

50 000.00

V06215

The Contemporary Art Development Trust (CADT)

Jonathan R Garnham

Western Cape

50 000.00

V06315

Stellenbosch University Museum

Bongani Mgijima

Western Cape

100 000.00

050 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

b. INDIVIDUAL PROJECT FUNDING

TABLE 12: INDIVIDUALS RECEIVING PROJECT FUNDING 2014/2015

CRAFT FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

C00215

Busisiwe N Ntuli

KwaZulu-Natal

25 000.00

C00315

Sibongile S Memani

Western Cape

25 000.00

C00715

Elvis Phiri

Gauteng

10 000.00

C00815

Sindile N Banda

Free State

25 000.00

C01015

Andrew Mashile

Mpumalanga

50 000.00

C01115

Chumisa Manyamalala

Western Cape

40 000.00

C01415

Busisiwe W Hlatshwayo

KwaZulu-Natal

10 000.00

C01515

Dibageng B Mokoena

Limpopo

25 000.00

C01615

Hlengiwe P Dube

KwaZulu-Natal

120 000.00

C01715

Moipone Ntseke

Gauteng

50 000.00

C02015

Marry M Moiloa

Northern Cape

20 000.00

C02115

Thembeka P Mthembu

KwaZulu-Natal

25 000.00

C02215

Jabulile M Mbizane

KwaZulu-Natal

10 000.00

C02315

Sarah A M Scott

Eastern Cape

120 000.00

C02515

Andile Magengelele

Gauteng

100 000.00

C02615

Bongani Florance Maziya

Mpumalanga

20 000.00

C02815

Mbhasobhi M Shongwe

Mpumalanga

10 000.00

C02915

Xolani M Magagula

Mpumalanga

18 000.00

C03015

Patience N Ngubane

Mpumalanga

10 000.00

C03215

Vusumuzi M Mbata

KwaZulu-Natal

25 000.00

C03315

Khulisiwe A Mdluli

KwaZulu-Natal

10 000.00

C03415

Qhamulale J Ngcobe

KwaZulu-Natal

10 000.00

C03615

Gladness N Myeza

KwaZulu-Natal

10 000.00

C03715

Bongiwe T Khumalo

KwaZulu-Natal

10 000.00

C03815

Dumephi Agnes Mthembu

KwaZulu-Natal

10 000.00

C03915

Sinethemba M Khumalo

KwaZulu-Natal

10 000.00

C04015

Winnie W Mbatha

KwaZulu-Natal

10 000.00

C04115

Mandisa Mbokoma

KwaZulu-Natal

15 000.00

C04215

Sebenzeni Mbata

KwaZulu-Natal

10 000.00

C04415

Dumisile P Mathe

KwaZulu-Natal

10 000.00

C04515

Ognasia B Khanyile

KwaZulu-Natal

10 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

051

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

C04615

Joyce B Ngcobo

KwaZulu-Natal

10 000.00

C04815

Zinhle P Ngcobo

KwaZulu-Natal

10 000.00

C04915

Bestar P Ndlovu

KwaZulu-Natal

10 000.00

C05015

Hloniphile Mkhize

KwaZulu-Natal

10 000.00

C05115

Angeline Bonisiwe Masuku

KwaZulu-Natal

10 000.00

C05315

Vuyisile P Khumalo

KwaZulu-Natal

10 000.00

C05415

Hazel T Ndlovu

KwaZulu-Natal

15 000.00

C05515

Busaphi H Dladla

KwaZulu-Natal

10 000.00

C05615

Gugu P Nzimande

KwaZulu-Natal

10 000.00

C05715

Sicelo S Jili

KwaZulu-Natal

10 000.00

C06015

Victoria A Stowe

Eastern Cape

100 000.00

C06115

Duduzile Mtolo

KwaZulu-Natal

20 000.00

C06415

Dolly S Matomba

Mpumalanga

9 828.00

C06615

Mzwandile L Mokoena

KwaZulu-Natal

5 000.00

C06815

Zinhle Nkosi

Gauteng

5 000.00

C07015

Tlangelani N Mthobeni

Mpumalanga

15 000.00

C07315

Marika Jacobs

Eastern Cape

50 000.00

C07415

Elizabeth M Mokoteli

Free State

20 000.00

C07515

Thuto B Pule

North West

20 000.00

C07815

Robert R Tau

Gauteng

10 000.00

C08215

Mathemba Ncoyini

Eastern Cape

30 000.00

C08715

Sibongile P Sibiya

Mpumalanga

10 000.00

C08915

Nobuhle Mhlabeni

KwaZulu-Natal

15 000.00

C09115

Nombulelo Mdani

Eastern Cape

15 000.00

C09215

Jennifer P Roberts

Western Cape

15 00.000

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

D00315

Mahlaga J Molepo

Gauteng

50 000.00

D00415

Desire J Davids

KwaZulu-Natal

80 000.00

D00515

Allan C Parker

Western Cape

50 000.00

D00715

Celeste D Botha

Western Cape

50 000.00

D01015

Shika Harrypaul

Gauteng

39 534.00

DANCE

052 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

D01115

John H Linden

Northern Cape

63 300.00

D01215

Tossie Van Tonder

Western Cape

50 000.00

D01315

Thulani L Mgidi

Mpumalanga

50 000.00

D01415

Melusi Mkhanjane

Gauteng

43 500.00

D01715

Mpotseng S Shuping

Western Cape

50 000.00

D02215

Nadine Joseph

Gauteng

70 000.00

D02415

Nicola Elliott

Western Cape

80 000.00

D02515

Patrick T Tshabalala

Gauteng

50 000.00

D02615

Thabiso H Pule

Gauteng

49 200.00

D02915

Nosipho Mkhize

KwaZulu-Natal

50 000.00

D03015

Ndidzulafthi S Ndou

Limpopo

50 000.00

D03115

Zandile V Magagula

Mpumalanga

50 000.00

D03315

Alfredo S Mokwena

Northern Cape

80 000.00

D03515

Cecilia J Katzke

Western Cape

50 000.00

LITERATURE FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

L00115

Maripane A Malejane

Limpopo

28 000.00

L00315

Lesibana J Maseja

Gauteng

21 000.00

L00415

Butinyana P Mashaba

Mpumalanga

28 000.00

L00515

Heila L Hugo

Western Cape

40 000.00

L00615

Zethu C Cakata

Gauteng

28 000.00

L00715

Mabonchi G Motimele

Limpopo

50 000.00

L00915

Khomotso Tjale

Gauteng

28 000.00

L01015

Ramasela P Makgeta

Gauteng

25 000.00

L01115

Bhekani PB Gumede

Gauteng

25 000.00

L01215

Cebisile Z Nkambule

Gauteng

25 000.00

L01315

Dr Zoliswa J Made

Eastern Cape

50 000.00

L01415

Jason Staggie

Western Cape

28 000.00

L01515

Reza D Alexander

Gauteng

28 000.00

L01715

Nkosingiphile T Sibiya

Gauteng

28 000.00

L01815

Jabulile G Magubane

KwaZulu-Natal

28 000.00

L02015

Nomkhosi Ngobese

Gauteng

28 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

053

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

L02115

Prof Thapelo J Selepe

Gauteng

50 000.00

L02215

Mxolisi Nyezwa

Eastern Cape

40 000.00

L02315

Ayanda E Billie

Eastern Cape

40 000.00

L02615

Sarah M Lekala

Limpopo

50 000.00

L02715

Moleti A Tlooke

Limpopo

50 000.00

L02815

Magalane P Mokabane

Limpopo

50 000.00

L02915

Seagele Masango

Mpumalanga

50 000.00

L03015

Bishop M Makobe

Limpopo

50 000.00

L03215

Gudani C Ramikosi

Limpopo

40 000.00

L03315

Dlayani E Shishenge

Gauteng

50 000.00

L03415

Bafana Nkosi

Gauteng

28 000.00

L03615

Ndanduleni J Manthakha

Limpopo

50 000.00

L03715

Samuel M Mathe

Gauteng

40 000.00

L03815

Malekoba H Mohlala

Gauteng

28 000.00

L03915

Mamongwana T Mashilo

Mpumalanga

28 000.00

L04015

David C Robbins

Gauteng

40 000.00

L04315

Zindid Meeran

Western Cape

28 000.00

L04415

Vusi Nhlapo

Gauteng

49 800.00

L04515

Robert Berold

Eastern Cape

80 000.00

L04615

Cornelia C Le Roux

Western Cape

40 000.00

L04715

Linda Ndlovu

Gauteng

40 000.00

L04915

Tshifhiwa G Mukwevho

Limpopo

40 000.00

L05015

Daniel A Mahlamme

Mpumalanga

50 000.00

L05215

Itereleng E Tumane

North West

28 000.00

L05315

Lillian Mmamaru

Gauteng

28 000.00

L05615

Vangile Gantsho

Gauteng

50 000.00

L05715

Seiso A Mpete

Free State

50 000.00

L05815

Lindiwe E Mkhwanazi

Free State

50 000.00

MULTIDISCIPLINE FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

A00215

Annie G Hammer

Northern Cape

100 000.00

A00315

Gavin J Krastin

Western Cape

78 000.00

A00615

Gertrude Twala

Gauteng

100 000.00

054 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

A00915

Nozipho N G Dlamini

Gauteng

100 000.00

A01015

Dieketseng B Motaung

Free State

100 000.00

A01115

Andiswa Hlanekela

Mpumalanga

100 000.00

A01515

Dikeledi Mokgata

Limpopo

80 000.00

A02015

Joyce S Molefakgotla

North West

100 000.00

A02615

Jennette Baholo

Gauteng

100 000.00

A02715

Kagisho Lobatsi

Northern Cape

100 000.00

MUSIC FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

M00215

Boudina McConnachie

Eastern Cape

100 000.00

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

T00315

Phillip M Dikotla

Limpopo

53 000.00

T00515

Ayanda Sithebe

Gauteng

84 350.00

T00915

Lyau C Ramsden

Gauteng

100 000.00

T01115

Allen Cebekhulu

Gauteng

65 000.00

T01215

Joel Zuma

Gauteng

100 000.00

T01315

Dr Louis M Taub

Gauteng

20 000.00

T01415

Sizwe N Mcaka

Eastern Cape

62 000.00

T01515

Sifiso Zimba

Gauteng

60 000.00

T01615

Antionette Morkel

Gauteng

60 000.00

T01715

Sipho C Saba

Gauteng

48 264.00

T01815

Allan C K Horwitz

Gauteng

45 000.00

T01915

Jane M Mpholo

Free State

30 000.00

T02015

Ndalo L Mchunu

KwaZulu-Natal

20 000.00

T02115

Daniel V Nhlapo

Gauteng

53 000.00

T02415

Rachere J Khupane

Gauteng

60 000.00

T02515

Dieketseng Z Mnisi

Gauteng

20 000.00

T02615

Friday E Nkosi

Mpumalanga

20 000.00

THEATRE

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

055

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

T02715

Roelf P Matlala

Gauteng

60 000.00

T02815

Mamakhooa Mosoeu

Gauteng

20 000.00

T03115

Mesia L Vilamkulu

Limpopo

20 000.00

T03215

Bhekani D Thabede

KwaZulu-Natal

100 000.00

T03315

Lebohang E Molelle

Free State

57 900.00

T03415

Magrietha Swanepoel

Western Cape

40 000.00

T03515

Zukiswa P Cakucaku

Eastern Cape

25 000.00

T03815

Ayanda I Mkhwanazi

KwaZulu-Natal

60 000.00

T04115

Velaphi Mthimkulu

Gauteng

70 000.00

T04215

Dedanizizwe Shabalala

KwaZulu-Natal

50 000.00

VISUAL ART FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

V00115

Fulufelo M Mobadi

Gauteng

25 000.00

V00215

Zwelethu Machepha

Gauteng

14 100.00

V00315

Monique M Pelser

Western Cape

30 000.00

V00615

Kilmany-Jo Liversage

Western Cape

25 000.00

V00715

Irvin M Nkwanyana

KwaZulu-Natal

40 000.00

V00815

Elize Vossgatter

Western Cape

40 000.00

V00915

Omar Badsha

Western Cape

40 000.00

V01015

Kira F Kemper

Gauteng

20 000.00

V01115

Prof Jeremy S Wafer

Gauteng

44 200.00

V01215

Carol Brown

KwaZulu-Natal

50 000.00

V01315

Angela Buckland

KwaZulu-Natal

40 000.00

V01415

Fiona J Pole

Gauteng

40 000.00

V01515

Timothy C Pangel

Western Cape

30 000.00

V01615

Andrew Tshabangu

Gauteng

30 000.00

V01815

Makgetha N Ntabanyane

Gauteng

25 000.00

V01915

Bafana S Zembe

Gauteng

25 000.00

V02115

Mbaliyethu P Mabuza

KwaZulu-Natal

25 000.00

V02215

Joseph Manana

KwaZulu-Natal

25 000.00

056 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

V02315

Lindelani Ndinisa

KwaZulu-Natal

25 000.00

V02415

Bonginkosi Nxumalo

KwaZulu-Natal

25 000.00

V02515

Innocent T Hlela

KwaZulu-Natal

25 000.00

V02615

Nelsie T Ndimande

Gauteng

25 000.00

V02715

Buhle W Mbambo

KwaZulu-Natal

25 000.00

V02915

Jean D De Wet

Western Cape

25 000.00

V03015

Deborah Weber

Western Cape

25 000.00

V03115

Violet Mmbidi

Gauteng

25 000.00

V03215

Vaughn V Sadie

Gauteng

30 000.00

V03315

Bongekile Bengu

Gauteng

25 000.00

V03415

Judith M Woodborne

Western Cape

20 000.00

V03515

Litha M Ncokazi

Eastern Cape

25 000.00

V03715

Shannon Ferguson

Gauteng

22 071.00

V03815

Nhlanhla C Chonco

KwaZulu-Natal

20 000.00

V03915

Brent A Meistre

Eastern Cape

40 000.00

V04015

Tracey A H Rose

KwaZulu-Natal

40 000.00

V04215

Toryn King

Eastern Cape

25 000.00

V04315

Kesayne Reed

Eastern Cape

25 000.00

V04415

Minke Wasserman

Western Cape

25 000.00

V04515

Yanga M Nomzitsui

Eastern Cape

14 822.00

V04615

Bianca Baldi

KwaZulu-Natal

30 000.00

V04815

Mochaka I Mohale

Free State

30 000.00

V04915

Roger A Williams

Western Cape

10 000.00

V05015

Bophumelela M Ngxale

Eastern Cape

5 000.00

V05115

Andiswa Djantyi

Eastern Cape

5 000.00

V05215

Mandisi Ngxongwana

Eastern Cape

5 000.00

V05315

Bambilanga A Maso

Eastern Cape

5 000.00

V05415

Nontsikelelo Ngqakayi

KwaZulu-Natal

20 000.00

V05515

Sicelo V S Ziqubu

KwaZulu-Natal

25 000.00

V05615

Nkosingiphile Mazibuko

Gauteng

5 000.00

V05715

Thembinkosi QeQe

Eastern Cape

5 000.00

V05815

Zipo Mannxeba

Eastern Cape

5 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

057

FUNDING NO

ORGANISATION/ INSTITUTION

PROVINCE

APPROVED AMOUNT

V05915

Mphuthumi Dingiswayo

Eastern Cape

5 000.00

V06015

Phozisa Mbangi

Eastern Cape

5 000.00

V06115

Yandani Pato

Eastern Cape

5 000.00

V06415

Dominic N Tshabangu

Gauteng

40 000.00

6.3 BURSARY FUNDING 2013/2014 a. INDIVIDUAL BURSARIES

TABLE 13: INDIVIDUALS RECEIVING LOCAL OR INTERNATIONAL BURSARY FUNDING 2014/2015

CRAFT FUNDING NO

INDIVIDUAL

PROVINCE

APPROVED AMOUNT

C0115B

Nosipho C Mtakati

Gauteng

20 000.00

FUNDING NO

INDIVIDUAL

PROVINCE

APPROVED AMOUNT

D0115B

Nadine A Buys

Western Cape

80 000.00

D0215B

Kirvan F Fortuin

Western Cape

90 000.00

D0415B

Labarre Jansen van Vuuren

Gauteng

22 357.00

D0915B

Theresa Vogel

Gauteng

22 357.00

D1015B

Simphiwe Magagula

Gauteng

22 357.00

DANCE

058 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

LITERATURE FUNDING NO

INDIVIDUAL

PROVINCE

APPROVED AMOUNT

L0115B

Robyn Bloch

Gauteng

35 073.00

L0215B

Stacy Hardy

Western Cape

30 000.00

L0315B

Nontsikelelo Jeanette Msizi

Eastern Cape

40 000.00

L0415B

Lwandlekazi Notshe

Eastern Cape

27 105.00

L0515B

Lesego Jacob Rampolokeng

North West

19 200.00

L0615B

Nomalanga Primrose Netjies

Eastern Cape

40 000.00

L0715B

Charl Linde

Western Cape

40 000.00

L0815B

Banele Mafuya

Eastern Cape

30 000.00

L0915B

Mandisa Vuyokazi Gqubela

Eastern Cape

25 000.00

L1015B

Nobathembu Dilayi

Eastern Cape

18 000.00

L1115B

Dimakatso Surprise Mathe

Gauteng

30 000.00

L1215B

Anele Gobodwana

Eastern Cape

15 400.00

L1315B

Noniko Petronella Dabula

Eastern Cape

25 000.00

L1415B

Xoliswa Mambalu

Eastern Cape

30 000.00

L1515B

Nancy Laura Morkel

Eastern Cape

40 000.00

L1615B

Koleka Gloriah Tshela- Mtetwa

Eastern Cape

40 000.00

L1715B

Pinso Cynthia Somkebe

Eastern Cape

27 105.00

L1815B

Vuyiswa Melrose Maqagi

Eastern Cape

40 000.00

L1915B

Nomfundo Zote

Eastern Cape

30 000.00

L2015B

Siphiwe Alfred Ndebele

Free State

13 190.00

MULTIDISCIPLINE FUNDING NO

INDIVIDUAL

PROVINCE

APPROVED AMOUNT

A0115B

Naadira Patel

Gauteng

80 000.00

A0215B

Lungile Mncube

KwaZulu-Natal

40 000.00

A0415B

Lihle Mancoba

Eastern Cape

36 587.00

A0615B

Segametsi Princess Gaobepe

Gauteng

40 000.00

A0715B

Erina Lautenbach

KwaZulu-Natal

25 530.00

A0815B

Tiego Abel Shametja

North West

27 583.00

A0915B

Tumelo Moloi

Gauteng

40 000.00

A1015B

Beverly Amanda Qwabe

KwaZulu-Natal

40 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

059

MUSIC FUNDING NO

INDIVIDUAL

PROVINCE

APPROVED AMOUNT

M0115B

John Z O Ntsepe

Other

60 000.00

M0215B

Apiwe A A Bubu

Gauteng

80 000.00

M0315B

Vuyolwethu Sotashe

Eastern Cape

100 000.00

M0415B

Nina Phillips

Gauteng

25 000.00

M0515B

Siyasanga Charles

Western Cape

90 000.00

M0615B

Abel M Selaocoe

Gauteng

58 000.00

M0715B

Lindie Brink

Gauteng

13 500.00

M0815B

Pace Clive Bango

KwaZulu-Natal

60 000.00

M0915B

Silindokuhle Zondo

KwaZulu-Natal

25 930.00

M1115B

Vulani Maxwell Baloyi

Limpopo

27 160.00

M1215B

Karabo Lucy Rasalanavho

Gauteng

15 650.00

M1415B

Thabani Praisegod Ncube

Gauteng

30 000.00

M1515B

Sphamandla Zamokuhle Mgweba

Gauteng

30 000.00

M1615B

Amogelang Oteng Lebethe

Western Cape

21 500.00

M1715B

Dominique R Lenting

Gauteng

28 960.00

FUNDING NO

INDIVIDUAL

PROVINCE

APPROVED AMOUNT

T0415B

Naomi C Van Niekerk

Gauteng

19 000.00

T0615B

Sandile Menze

KwaZulu-Natal

15 000.00

T0715B

Gcebile Dlamini

KwaZulu-Natal

6 000.00

T0815B

Banoile Seleme

Gauteng

15 000.00

T0915B

Maobo Edward Thaba

Limpopo

6 000.00

T1115B

Neiten Smith

Free State

13 870.00

T1315B

Phemelo Hellemann

North West

15 000.00

T1415B

Thandiwe Lerato Sekhibane

Gauteng

6 000.00

T1515B

Crizelle Bernadene Anthony

Western Cape

10 000.00

T1615B

Matlakala Eunice Motaung Vilankulu

Gauteng

36 389.00

T1815B

Jacqlyne Titus

Gauteng

6 000.00

T1915B

Albert Themba Mkhoma

Gauteng

6 000.00

T2015B

Veronicah Zandile Mqwathi

Gauteng

15 000.00

THEATRE

060 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

Dance X Change Programme (David April)

VISUAL ART FUNDING NO

INDIVIDUAL

PROVINCE

APPROVED AMOUNT

V0115B

Nicole R Vinokur

Gauteng

70 000.00

V0215B

Sanele Manqele

Gauteng

100 000.00

V0315B

Eduardo F A Cachucho

Gauteng

70 000.00

V0415B

Bhavisha L Panchia

Gauteng

70 000.00

V0515B

Ravi Govender

Gauteng

70 000.00

V0615B

Candice Thikeson

Free State

43 000.00

V0715B

Greer Valley

Western Cape

30 000.00

V0815B

Thina Glen Dube

Gauteng

25 000.00

V0915B

Lesley -Ann Julius

Gauteng

25 000.00

V1315B

Nadia Kikia

KwaZulu-Natal

25 000.00

V1715B

Klara Den Hever

Western Cape

30 000.00

V1815B

Johandi Du Plessis

Free State

30 000.00

V1915B

Boitumelo Mazibuko

Gauteng

25 000.00

b. BLOCK BURSARIES

TABLE 14: ORGANISATIONS RECEIVING BLOCK BURSARY FUNDING 2014/2015

CRAFT FUNDING NO

NAME

PROVINCE

APPROVED AMOUNT

C0215B

Tshwane University of Technology

Gauteng

126 312.00

C0315B

Oakfields College

Gauteng

40 000.00

C0415B

Sewafrica

Gauteng

118 800.00

C0515B

Durban University of Technology

KwaZulu-Natal

126 312.00

C0615B

Tshwane University of Technology

Gauteng

126 312.00

C0715B

Tshwane University of Technology

Gauteng

126 312.00

C0815B

Lisof

Gauteng

126 312.00

C0915B

University of Johannesburg

Gauteng

126 312.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

061

The Meal (John Hogg)

DANCE FUNDING NO

NAME

PROVINCE

APPROVED AMOUNT

D0315B

Oakfields College

Gauteng

60 000.00

D0515B

University of Cape Town

Western Cape

158 000.00

D0615B

Jazzart Dance Theatre

Western Cape

80 000.00

D0715B

Cape Academy of Performing Arts

Western Cape

80 000.00

D0815B

Vuyani Dance Theatre

Gauteng

50 000.00

D1115B

Moving Into Dance Mophatong

Gauteng

100 000.00

MULTIDISCIPLINE FUNDING NO

NAME

PROVINCE

APPROVED AMOUNT

A0315B

Radio Active Productions Publishing

Eastern Cape

100 000.00

A0515B

Tshwane University of Technology

Gauteng

96 000.00

A1115B

Magnet Theatre Educational Trust

Western Cape

160 000.00

FUNDING NO

NAME

PROVINCE

APPROVED AMOUNT

M1015B

Nelson Mandela Metropolitan University

Eastern Cape

50 000.00

M1315B

Walter Sisulu University

Eastern Cape

50 000.00

FUNDING NO

NAME

PROVINCE

APPROVED AMOUNT

T0515B

Oakfields College

Gauteng

60 000.00

T1015B

Tshwane University of Technology

Gauteng

170 000.00

T1215B

Free State University

Free State

70 000.00

T1715B

University of the Witswatersrand

Gauteng

70 000.00

MUSIC

THEATRE

062 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

The Meal (John Hogg)

VISUAL ART FUNDING NO

NAME

PROVINCE

APPROVED AMOUNT

V1015B

Funda Community College

Gauteng

121 632.00

V1115B

Ruth Prowse School of Art

Western Cape

88 125.00

V1215B

Centre for Fine Art Animation and Design

Western Cape

93 125.00

V1415B

Tshwane University of Technology

Gauteng

118 125.00

V1515B

The Animation School

Western Cape

93 125.00

V1615B

University of the Free State

Free State

68 125.00

V2015B

Vaal University of Technology

Gauteng

108 125.00

V2115B

Durban University of Technology

KwaZulu-Natal

68 125.00

TABLE 15: FLAGSHIPS AND SURPLUS FUNDING PROJECTS

CRAFT FUNDING NO

ORGANISATION NAME

PROVINCE

APPROVED AMOUNT

F01015

Ifa Lethu Foundation

Gauteng

1 000 000.00

FUNDING NO

ORGANISATION NAME

PROVINCE

APPROVED AMOUNT

F01515

Garage Dance Ensemble

Northern Cape

500 000.00

F00315

The Forgotten Angle Theatre Collaborative

Gauteng

750 000.00

F01215

Vuyani Dance Theatre

Gauteng

750 000.00

DANCE

LITERATURE FUNDING NO

ORGANISATION NAME

PROVINCE

APPROVED AMOUNT

F00915

Sign Language Education and Development

Western Cape

750 000.00

F01415

South African Book Development Council (SABDC)

Western Cape

750 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

063

MULTIDISCIPLINE FUNDING NO

ORGANISATION NAME

PROVINCE

APPROVED AMOUNT

F01115

National Council for Persons with Physical Disabilities

Gauteng

500 000.00

F00815

The Keiskamma Trust

Eastern Cape

1 000 000.00

F00115

ASSITEJ

Western Cape

3 500 000.00

F00215

African Arts Institute

Western Cape

1 000 000.00

Flagship

Little Voices

National

3 000 000.00

Flagship

NEPAD

National

150 000.00

Flagship

Research and Database

National

2 000 000.00

Flagship

Spotlight on South Africa - Canada

National

2 000 000.00

FUNDING NO

ORGANISATION NAME

PROVINCE

APPROVED AMOUNT

F00715

Eastern Cape Philharmonic Orchestra

Eastern Cape

500 000.00

FUNDING NO

ORGANISATION NAME

PROVINCE

APPROVED AMOUNT

F00615

From the Hip: Khulumakahle

Western Cape

299 160.00

F01315

The Magnet Educational Trust

Western Cape

750 000.00

MUSIC

THEATRE

VISUAL ART FUNDING NO

ORGANISATION NAME

PROVINCE

APPROVED AMOUNT

F00515

The Art Therapy Centre/Lefika La Phodiso

Gauteng

750 000.00

F00415

UFS Institute for Reconciliation and Social Justice

Free State

750 000.00

064 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

*Although some of the flagship projects listed are based in Gauteng, they benefit communities in other parts of the country. Ifa Lethu benefits communities in the Free State and Northern Cape and the Forgotten Angle Theatre Collaborative benefits communities in Mpumalanga.

TABLE 16: ARTS ORGANISATION FUNDING 2014/2015

CRAFT FUNDING NO

ORGANISATION

PROVINCE

AMOUNT

CC0115

Makotse Women's Club

Limpopo

115 000.00.00

CC0215

EduCompass Community Development Services

Western Cape

132 000.00.00

CC0315

Pitseng Arts and Craft

Gauteng

115 000.00

CC0415

Makhaya Bushmen - Ceramics

Gauteng

180 000.00

CC0515

Africa Craft Trust

Gauteng

115 000.00

CC0615

Twananani Textile

Limpopo

115 000.00

CC0715

Kwantu Entertainment & Designs cc

Gauteng

115 000.00

CC0815

Zebra Arts & Crafts

Northern Cape

135 000.00

CC0915

Rainbow Mosaic and Pottery Co-Operative

Gauteng

115 000.00

CC1015

Nonkqubela Weaving Primary Co-Operative

Eastern Cape

179 000.00

CC1115

Sizimisele Development Trust

KwaZulu-Natal

179 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

065

DANCE FUNDING NO

ORGANISATION

PROVINCE

AMOUNT

DC0115

Orange Farm Dance Theatre

Gauteng

200 000.00

DC0215

Dikwena Tse Botse Tsa Ga Matsepe

Limpopo

264 000.00

DC0315

Ikapa Dance Theatre Productions

Western Cape

162 000.00

DC0415

Zama Dance School Trust

Western Cape

155 000.00

DC0515

Foot Expression Dance and Entertainment

North West

200 000.00

DC0615

Jazzy Masala Dance Academy

Gauteng

155 000.00

DC0715

Dinganga Theatre Creation's

Gauteng

155 000.00

DC0815

Ekurhuleni Youth Club

Gauteng

200 000.00

DC0915

Dika - Moka Youth Development Forum

Gauteng

200 000.00

DC1015

Zoeâ&#x20AC;&#x2122;s Dance Academy

Free State

200 000.00

LITERATURE FUNDING NO

ORGANISATION

NAME OF CO-ORDINATOR

PROVINCE

AMOUNT

LC0115

African Sun Press

Donald Pinnock

Western Cape

318 000.00

LC0215

The Fundza Literacy Trust

Carol M Hardie

Western Cape

200 000.00

LC0315

Arts Amuse

Rita A Chihawa

Free State

250 000.00

LC0415

Tiego Creative Writers

John Molomo

Limpopo

200 000.00

LC0515

Mbali Press

Pule SL Lechesa

Free State

200 000.00

LC0715

Biblionef SA

Jean Williams

Western Cape

320 000.00

LC0815

Gcinamasiko Arts & Heritage Trust

Nokugcina Mhlope

KwaZulu-Natal

200 000.00

LC0615

Mark Herp CC

Tlou Setumu

Limpopo

200 000.00

066 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

MUSIC AND OPERA FUNDING NO

ORGANISATION

NAME OF CO-ORDINATOR

PROVINCE

AMOUNT

MC0115

New Music SA

Fiona A Tozer

KwaZulu-Natal

165 000.00

MC0215

Marimba Education Foundation

Hilde Gordon

Gauteng

165 000.00

MC0315

Kronendal Music Academy of Hout Bay

Dwynne Fleur Griesel

Western Cape

156 750.00

MC0415

Msunduzi Music Centre

Phumulani B Khanyile

KwaZulu-Natal

156 750.00

MC0515

Heritage Music School

Tumelo E Tlholonyane

Gauteng

156 750.00

MC0615

Gauteng Music Development

Linda Ntoni

Gauteng

350 000.00

MC0715

Vhalondoti Cultural Clan

Tshilidzi C Bobodi

Limpopo

350 000.00

MC0815

Tshwane Music Industry Co-Operative LTD

Pat Ranoto

Gauteng

350 000.00

MC0915

Tshwane School of Music

Freddy Arendse

Gauteng

156 750.00

MC1015

Ma-Afrika Cultural Organisation

Wilhelmina M Makena

Gauteng

187 000.00

MC1115

South African Music Education Trust

Jenifer Williams

Gauteng

165 000.00

MC1215

Phoenix Foundation Trust

Segadevan Kiston

KwaZulu-Natal

165 000.00

THEATRE AND MUSICAL THEATRE FUNDING NO

ORGANISATION

NAME OF CO-ORDINATOR

PROVINCE

AMOUNT

TC0115

Usuthu Arts Productions

Kenneth Mmekwa

Gauteng

308 000.00

TC0215

Nhluvuko Enlightenment Productions

Luscious N Dosi

Gauteng

280 000.00

TC0315

Arley's Workshop

Chantal L Snyman

KwaZulu-Natal

308 000.00

TC0415

Lunch Box Theatre

Stuart Palmer

Western Cape

266 000.00

TC0515

East City Talent House

Vusumizi Ngcani

Mpumalanga

330 000.00

TC0615

Maqhawe Theatre Group (MTG)

Percy E Chibi

Mpumalanga

280 000.00

TC0715

Mavundla and The Roses of South Africa ( Marosa )

Mphatheni A Mavundla

Gauteng

330 000.00

TC0815

Phambili Ghetto Artists

Psalm Dlamini

Gauteng

330 000.00

TC0915

Youth in Action Theatre Production

Mandla Mtimkulu

KwaZulu-Natal

330 000.00

TC1015

Ladimash Productions

Mashupe Phala

Limpopo Province

280 000.00

TC1115

Clowns Without Borders South Africa (CWBSA)

Lindokuhle Ngcobo

KwaZulu-Natal

280 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

067

Omar Badsha - Tadkeshwar 1996

068 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

VISUAL ARTS FUNDING NO

ORGANISATION

NAME OF CO-ORDINATOR

PROVINCE

AMOUNT

VC0115

Mogale Arts Calabash

Molefe A Mosenye

Gauteng

255 000.00

VC0215

Dikaletsa Creative Projects CC

Nthabiseng R Montshiwa

Gauteng

255 000.00

VC0315

Africa South Art Initiative (ASAI)

Marioa Pissarra

Western Cape

330 000.00

VC0415

Artist Proof Studio

Nkosinathi Simelane

Gauteng

100 000.00

VC0515

Art For Humanity

Jan W Jordaan

KwaZulu-Natal

122 000.00

VC0615

Rendezvous Art Project

Christina Naurattel

North West

255 000.00

VC0715

Fordsburg Artist's Studios (The Bag Factory)

Daphne S Hallatt

Gauteng

100 000.00

VC0815

Streetwhy's Productions

Sandile Radebe

Gauteng

255 000.00

MULTIDISCIPLINE FUNDING NO

ORGANISATION

NAME OF CO-ORDINATOR

PROVINCE

AMOUNT

AC0115

South African Education & Environment Project (SAEP)

Lorna J Keen

Western Cape

200 000.00

AC0215

Z'mele

Siyabonga Ngcakani

Gauteng

250 000.00

AC0315

Mangaung Drama and Dance Group

AnDre Niemann

Free State

352 000.00

AC0515

Zimiseleni Project

Peter W Selepe

Mpumalanga

200 000.00

AC0615

Kopano Ke Matla Youth Group

Tshepiso Modisadife

North West

150 000.00

AC0715

Zero to Hero Theatre Production

Simphiwe B Doshana

Gauteng

250 000.00

AC0815

United Proactive Artists

Bekexela Vusi Mhlongo

Gauteng

200 000.00

AC0915

Khwa ttu

Hans H Kuhn

Western Cape

100 000.00

AC1015

Mutloatse Arts Heritage Trust

Mothobi Mutloatse

Gauteng

352 000.00

AC1115

Masakhane Arts and Culture Primary Co-Operative

Ellardo Chulu

North West

200 000.00

AC1215

Kwaguqa Arts Initiative

Donald Matharha

Mpumalanga

250 000.00

AC1315

Ithuteng Art

Pfunzo Sidogi

Gauteng

200 000.00

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

069

FUNDING NO

ORGANISATION

NAME OF CO-ORDINATOR

PROVINCE

AMOUNT

AC1415

Community And Prison Organisation ( CPO )

Boyboy Motloung

Gauteng

200 000.00

AC1515

Impophoma Youth Production

Sthembile Shoba

Gauteng

200 000.00

AC1615

ICRD Group Foundation Trust

Lehlohonolo Litelu

Gauteng

250 000.00

AC1715

Music Transformation Enterprise

Matshetlo M Nkati

North West

300 000.00

AC1815

Janrose Productions

Nthabiseng R Jafta

Free State

350 000.00

AC1915

Ralebipi Arts Tech School

Shetta P Kgosana

Limpopo

250 000.00

AC2015

College of Magic

David G Gore

Western Cape

200 000.00

AC2115

Women Unite Entertainment

Nomthandazo Swartbooi

Western Cape

352 000.00

AC2215

Emthonjeni Rural Development

Ntokazi Nwadike

Mpumalanga

200 000.00

AC2315

Karona Trading 720 CC

Thamo Sikhupelo

Northern Cape

200 000.00

AC2415

Pakama Productions

Kagisho Lobatsi

Northern Cape

200 000.00

AC2515

Applauz Arts Initiative

Natalia Egelhof

Western Cape

150 000.00

AC2615

Heritage South Africa

Msamane George Hlungwani

Limpopo

352 000.00

AC2715

Khataza Multipurpose Primary Co-operative

Sophie T Mathebula

Limpopo

200 000.00

AC2815

The Mothertongue Project

Makgathi Mokwena

Western Cape

200 000.00

AC2915

East London Guild Theatre

Zane Flanagan

Eastern Cape

375 000.00

AC3015

Nkomazi Arts And Crafts Primary Cooperative LTD

Simanga Julius Mamba

Mpumalanga

300 000.00

AC3115

Tsa Africa Development Projects

Hazil Masimola

Mpumalanga

350 000.00

AC0415

Unima SA

Christa Robijin

Western Cape

352 000.00

TABLE 17: MINISTERâ&#x20AC;&#x2122;S RING-FENCED FUNDING

REGISTRATION NUMBER

ORGANISATION NAME

COORDINATOR PROVINCE

AMOUNT

Mr./01/15

KZN Philharmonic Orchestra

Bongani Tembe

KwaZulu-Natal

10 300 000.00

Mr./02/15

Cape Philharmonic Orchestra

Susan Murray

Western Cape

7 020 000.00

Mr./03/15

Cape Town Jazz Orchestra

Dr Abdullah Ibrahim

Western Cape

3 726 000.00

070 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

GOVERNANCE

Hatched (John Hogg)

071 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

1. Introduction The NAC is a Schedule 3A public entity, established by an Act of Parliament in 1997 (NAC Act, No. 56 of 1997). The corporate governance principles of the NAC are governed by the NAC Act, as amended by the Cultural Laws Amendment Act (No. 36 of 2001) and the Public Finance Management Act (No. 1 of 1999). In addition, the NAC Corporate Governance Framework aligned to the King III Code on Corporate Governance Principles informs corporate governance. Council approved the Corporate Governance Framework with a clear definition of the roles and responsibilities of the constituent elements of the NAC’s management structure. This enables Council to plan, execute, control and monitor the organisation’s activities in accordance with strategic objectives. The Delegation of Authority Framework determines levels of authority for Council and management in respect of financial and operational decision-making, including major investments, capital expenditure and contractual engagements.

The internal audit function monitors compliance with these authority levels and also checks compliance with the Corporate Governance Framework. In terms of Section 4 of the Act, the NAC functions under the authority of a Council appointed by the Minister of Arts and Culture. The Council of the NAC comprises 20 members; there was one resignation during the year under review. Council meetings were held quarterly and when necessary, special meetings were convened. The NAC maintained a functional Audit and Risk Committee and Internal Audit Function for the year under review in compliance with the PFMA. The Advisory Panels, established in terms of Section 11 of the Act and chaired by the duly appointed Council member, facilitated the allocation of arts organisation support, project and bursary funding in the year under review by evaluating applications and making recommendations to Council.

2. Reports to Parliamentary Oversight Committees The Parliamentary Portfolio Committee on Arts and Culture has oversight on the work of the NAC, along with the Department of Arts and Culture (DAC) and all other public entities reporting to the DAC. The NAC appeared before the Portfolio Committee on the following occasion:

DATES

PURPOSE

14 APRIL 2014

ANNUAL PERFORMANCE PLAN PORTFOLIO COMMITTEE

3. Executive Authority The NAC reports quarterly to the Minister of Arts and Culture using a template as prescribed by the DAC. Furthermore, through the annual Shareholder’s Compact signed by the NAC and the Minister a series of structures were established to promote effective relations between the DAC and the public entities reporting to it. A Chief Financial Officer’s Forum, CEO’s Forum and Chairperson’s Forum were established. Chaired by the Minister, the NAC attended six meetings in the year under review:

DATES

PURPOSE

13 JUNE 2014 20 NOVEMBER 2014

DAC CFO’S FORUM

19 NOVEMBER 2014

NATIONAL TREASURY CFO’S FORUM

20 & 21 NOVEMBER 2014

CEO’S FORUM

11 DECEMBER 2014

CEO’S FORUM

4 APRIL 2014

CHAIRPERSONS’ FORUM (ATTENDED BY CHAIRPERSON AND CEO)

072 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

4. The Council Appointed by the Minister of Arts and Culture in March 2011, the NAC Council comprises 21 members as listed in the table below. In terms of the NAC Act, Council has a direct responsibility for decisions with regard to grant funding, and as such, the NAC Council met on four occasions during the financial year under review, three of which were meetings to approve project and international bursary funding, local bursary funding and arts organisation support funding.

NAME

Ms Matlhodi Angelina Makwetla

DESIGNATION

DATE APPOINTED

DATE RESIGNED

OTHER COMMITTEES

Chairperson

March 2011

Not applicable

EXCO

NO. OF MEETINGS ATTENDED 4 Council meetings 7 EXCO meetings

Mr Mohau Samuel Mphomela

Deputy Chairperson

March 2011

Not applicable

EXCO Chairperson: Arts Organisation Support Funding and Festival Funding Advisory Panel

Prof Gessler Moses Nkondo

Member

March 2011

Not applicable

HRCommittee Education Committee

3 Council meetings 1 EXCO meeting 2 HR committee meetings

Not applicable

HR Committee Education Committee Dance Advisory Panel Member: Arts Organisation Support Funding and Festival Funding Advisory Panel

2 Council meetings 3 HR 2 EXCO meeting 3 Dance Advisory Panel meetings

February 2013

Chairperson: Music Advisory Panel Member: Arts Organisation Support Funding and Festival Funding Advisory Panel

Resigned

Ms Phyllis Klotz

Mr Shadrack Bokaba

Member

March 2011

4 Council meetings 7 EXCO meetings

Ms Nwabisa Mavuso

Member

March 2011

Not applicable

HR Committee

2 Council meetings 3 EXCO meetings 1 Audit meeting 3 HR Committee meetings

Ms Erica Elk

Member

March 2011

Not applicable

Chairperson: Craft Advisory Panel

3 Council meetings 3 Craft Advisory Panel meetings

Not applicable

EXCO Member: Arts Organisation Support and Festival Funding Panel Member

4 Council meetings 8 EXCO meetings

Ms Seipati Bernice Dichabe

Member

March 2011

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

073

NAME

DESIGNATION

DATE APPOINTED

DATE RESIGNED

OTHER COMMITTEES

NO. OF MEETINGS ATTENDED 4 Council meetings 3 EXCO meetings 3 Theatre Advisory Panel meetings 2 HR Committee meetings

2 Council meetings 1 Advisory panel

Ms Nakedi Ribane

Member

March 2011

Not applicable

Chairperson: Theatre Advisory Panel Member: Arts Organisation Support and Festival Funding Panel

Mr Bongani John Tembe

Member

March 2011

Not applicable

Chairperson: MultiDisciplinary Advisory Panel

Not applicable

Chairperson: Audit and Risk Committee EXCO

Not applicable

Chairperson: Literature Advisory Panel Member: Arts Organisation Support and Festival Funding Panel Committee of Provinces Member

4 Council meetings 3 EXCO meetings 1 Provincial meeting 3 Literature Advisory Panel meetings

Mr Zamindlela Joseph Bhengu

Mr Johnny Simon Masilela

Member

March 2011

4 Council meetings 8 EXCO meetings 5 Audit and Risk Committee meetings

Mr Nelson Ndela Ntshangase

Member

March 2011

Not applicable

ARC Member Committee of Provinces Member

4 Council meetings 2 EXCO meetings 5 Audit and Risk Committee meetings 1 Provincial meeting 3 Music Advisory Panel meetings

Mr Manne Shadrack Thebe

Member

March 2011

Not applicable

ARC Member Committee of Provinces Member

4 Council meetings 5 Audit and Risk Committee meetings 1 Provincial meeting

Mr Chikapa Enock Ray Phiri

Member

March 2011

Not applicable

Committee of Provinces Member

3 Council meetings 2 HR meetings 1 Provincial meeting

March 2011

Date of resignation January 2014

Chairperson: Committee of Provinces Education Committee member

Resigned

4 Council meetings 1 Provincial meetings 2 Visual Arts Advisory Panel meetings

None

Mr Dendheni Andrew Nhlangwini

Member

Prof. Dominic Thorburn

Member

March 2011

Not applicable

Chairperson: Visual Arts Advisory Panel Committee of Provinces Member Education Committee member

Ms Elizabeth Phaedi

Member

November 2013

Not applicable

074 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

Section 8 of the NAC Act empowers Council, at its discretion, to establish committees to assist Council in the performance of its functions. In addition to the delegation of authority, Council delegated specific responsibilities to a number of committees that operate within terms of reference approved by the Council. Seven committees were operational for the financial year under review: • Executive Committee; • Audit and Risk Committee; • Human Resources Committee; • Committee of Provinces; • Education Committee; • Committee of Panel Chairpersons; and • Advisory Panels.

Committees NO. OF MEETINGS

COMMITTEE

NO. OF MEMBERS

NAME OF MEMBERS

Executive Committee

Mrs Angelina Makwetla Mr Mohau Mphomela Mr Zama Bhengu Ms Seipati Dichabe Ms Nwabisa Mavuso

Audit and Risk Committee

Mr Zama Bhengu Mr Ndela Ntshangase Mr Manne Thebe Ms Thebi Moja

Human Resources Committee

Prof. Gessler Moses Nkondo Ms Nakedi Ribane Mr Chikapa Enock Ray Phiri Ms Phyllis Klotz Ms Nwabisa Mavuso

Committee of Provinces

Mr Andrew Nhlangwini (resigned) Mr Johnny Masilela (acting) Mr Ndela Ntshangase Prof. Dominic Thorburn Mr Manne Thebe Mr Chikapa Enock Ray Phiri Ms Linda Marques Mr Mpho Mofokeng

Education Committee

Ms Erica Elk Ms Phyllis Klotz Mr Andrew Nhlangwini Prof. Muxe Nkondo Prof. Dominic Thorburn

Ms Erica Elk Ms Phyllis Klotz Mr Johnny Masilela Mr Bongani Tembe Mr Ndela Ntshangase Ms Nakedi Ribane Prof. Dominic Thorburn

Committee Panel Chairpersons

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

075

ADVISORY PANELS: APRIL – SEPTEMBER 2014 COMMITTEE

NO. OF MEETINGS

NO. OF MEMBERS

NAME OF MEMBERS

Advisory Panel: Craft

Ms Erica Elk (Chairperson) Mr Windy Mthembu Ms Magdalena Harley Ms Susan Sellschop Mr Andile Magengelele

Advisory Panel: Dance

Ms Phyllis Klotz (Chairperson) Dr Vusabantu Ngema Mr Alfred Hinkel Mr Gerard Samuel Mr Jimmy Notuku

Advisory Panel: Literature

Mr Johnny Masilela (Chairperson) Mr Vonani Bila Dr CM Hoza Dr Linda L. Kwatsha Dr Mathene Mahenke

Advisory Panel: Multidiscipline

Mr Bongani Tembe (Chairperson) Mr Skin Sipoko Mr Jerry Mabuza Mr Malesela Aphane Ms Zaide Harneker

Advisory Panel: Music

Mr Ndela Ntshangase (Chairperson) Mr Oupa Selemane Mr Sibusiso Njeza Mr Andrew Mnguni Mr Mfanimpela Mlambo

Advisory Panel: Theatre

Ms Nakedi Ribane (Chairperson) Ms Nobesuthu Rayi Ms Mmabatho Mogomotsi Dr Niel Le Roux Mr Pascar Dube

Advisory Panel: Visual Arts

Prof. Dominic Thorburn (Chairperson) Dr Collen Morare Ms Nontobeko Ntombela Mr Pumlani Mbanya Mr Lucky Khuzwayo

ADVISORY PANELS: NEW INDUCTIONS: OCTOBER 2014 – MARCH 2015 COMMITTEE

NO. OF MEETINGS

NO. OF MEMBERS

NAME OF MEMBERS

Advisory Panel: Craft

Ms Erica Elk (Chairperson) Ms Bulelwa Ncumisa Bam Ms Jabu Gladys Dlamini Ms Nthabiseng Makhene

Advisory Panel: Dance

Ms Phyllis Klotz (Chairperson) Ms Lizelle Julie Ms Mamela Nyamza Mr PJ Sabbagha

076 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

COMMITTEE

NO. OF MEETINGS

NO. OF MEMBERS

NAME OF MEMBERS

Advisory Panel: Literature

Mr Johnny Masilela (Chairperson) Ms Nomsa Mdlalose Mr Tebogo David Maahlamela Mr Menzi Thango

Advisory Panel: Multi-Discipline

Mr Bongani Tembe (Chairperson) Mr Thamsanqa Igor Dlamini Londiwe Langa Mr Monwabisi Grootboom Mr Michael Arendse

Advisory Panel: Music

Mr Ndela Nelson Ntshangase (Chairperson) Mr Othusitse Mabilo Mr Lionel Mkhwanazi Mr Moses Monamodi

Advisory Panel: Theatre and Musical Theatre

Ms Nakedi Ribane (Chairperson) Mr Wandile Mgcodo Ms Marie-Heleen Coetzee Ms Nikki Froneman

Advisory Panel: Visual Arts

Prof. Dominic Thorburn (Chairperson) Mr Jacob Lebeko Mr Same Mdluli Ms Tracey Rose

REMUNER ATION OF COUNCIL MEMBERS Council members are remunerated in accordance with the rates stipulated by National Treasury for particular categories of public entities, inclusive of preparation fees. Remuneration of Council members is detailed in Note 24 of the Annual Financial Statements.

5. Risk Management The NAC manages risk in accordance with a risk register, approved by Council, which is updated annually. The risk register is based on an annual risk assessment conducted by the NACâ&#x20AC;&#x2122;s internal auditors; the risk register is mainly based on the strategic plan of the NAC. The risk register, including mitigation strategies and progress with regard to implementation, is updated quarterly and presented to ARC, EXCO and Council.

Omar Badsha - Young Woman, Fetching Water, Woldia 2001

Omar Badsha - Garment Worker 1986, Durban

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6. Governance, Risk Management and Compliance Compliance to stated policy and procedures â&#x20AC;&#x201C; achieved through management processes which identify the applicable requirements (e.g. defined in laws, regulations, contracts, strategies and policies).

Support by assessing state of compliance, assess risks and potential costs of non-compliance against the projected expenses to achieve compliance; prioritise, fund and initiate any corrective actions deemed necessary. Ensuring critical management information is complete, accurate and timely enabling appropriate management decision making. Provide control mechanisms to ensure strategies, directions and instructions from management are carried out systematically and effectively. Assist departments in risk management by set of processes through which management identifies, analyses and where necessary, responds appropriately to risks that might adversely affect realisation of business objectives.

078 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

In accordance with the PFMA, the NAC has a duly constituted Audit and Risk Committee comprising three Council members. In terms of the Corporate Governance Framework and Charter of the Audit Committee the role of the committee is to ensure: • Effectiveness of the internal control systems; • Effectiveness of the internal audit function; • Risk areas of operations to be covered in the scope of internal and external audits; • The adequacy, reliability and accuracy of financial information provided to management and other users of such information; • Any accounting and auditing concerns identified as a result of internal and external audits; • Compliance with legal and regulatory provisions; and • Activities of the internal audit function, including its annual work programme, co-ordination with the external auditors (ie the AuditorGeneral), the reports of significant investigations and the responses of management to specific recommendations. Internal audit services are provided by an outsourced service provider, SEMA Integrated Risk Solutions. Based on a three-year and annual audit plan developed in the year under review, these internal audits were conducted: • Grants Management; • Financial Discipline Review; • Performance Information; • Supply Chain Management; • Corporate Governance; and • Follow up of Auditor-General’s Management Letter – 2014/2015. The report of the Audit and Risk Committee is included in the Annual Financial Statements.

8. Compliance with Laws and Regulations The focus of compliance was on resolving matters raised by internal and external auditors in reports up to 2014/2015. The Supply Chain Management policy was reviewed. Critical to the process of improving compliance was to receive condonation for the purchase of Downtown Studios as well as approval for the transfer of the building and assets to the Downtown Music Hub.

9. Fraud and Corruption The NAC has a Fraud Prevention Strategy available to all staff. Assessing possible fraud risks is part of the annual risk assessment workshop wherein staff members are encouraged to disclose and share any information that might pose a risk to the NAC. The Fraud Prevention Awareness Campaign coordinated by the DAC is also implemented at the NAC. Information to create awareness is displayed on the NAC noticeboard. The campaign makes staff aware of mechanisms to report fraud and corruption through surveys, the results of which are published for employee awareness. Employees are provided with confidential numbers to report any possible fraud and corruption including, but not limited to, the Presidential hotline. Fraud prevention activities at the NAC also include pre-employment screening for all appointments and evidence of such screening is maintained by the HR Department. These aspects are included in the screening: • Verification of identity; • Police criminal history; • Reference checks with the two most recent employers – this will normally require telephone contact; • A consideration of any gaps in employment history and the reasons for those gaps; and • Verification of formal qualifications claimed.

Dance X Change Programme (John Hogg)

7. Internal Audit and Audit Committees

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SEEP (Ruth Smith)

10. Minimising Conflict of Interest The NAC stipulates that members of Council and Advisory Panel members should not receive grant funding from the organisation. In 2014/2015, Council, with the support of the DAC, approved an interpretation of this clause which would allow the organisations that individual members are employed by or associated with to apply for funding, but that would explicitly exclude individual Council members from applying. In support of this commitment to effective governance, Declarations of Interest were completed prior to each Council or sub-committee meeting and annual declarations were completed by all Council members.

11. Code of Conduct The conduct of Council is governed by the NAC Corporate Governance Framework which stipulates that each member is obliged to act honestly and in good faith. In particular, the Framework requires all members to: • Act within their powers and in the interest, and for the benefit of the NAC; • Not to act with self interest in making short and long-term decisions; • Carry out their duties with appropriate skill and care, and exercise their own judgement; • Uphold the values and objectives of the NAC;

080 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

• Uphold the NAC’s core policies; • Contribute to and share responsibility for Council decisions; • Read Council papers; • Attend and effectively participate in meetings, training sessions and other events; • Represent the NAC and its values, policies and decisions; • Declare any relevant interest; • Furnish the NAC’s auditors with all information and explanations they require; • Respect confidentiality of information and not disclose confidential information about the NAC, its staff or its stakeholders; and • Comply with the law, letter and spirit of the corporate governance principles and practices set out in the Framework. Council members not complying are subject to the provisions of the NAC Act with regard to vacating their seat on Council and non-compliant staff members are subject to the NAC’s disciplinary process.

12. Health, Safety and Environmental Issues The NAC is a very small organisation with no specific hazards associated with the work conducted on a daily basis. In accordance with the Occupational Health and Safety Act, the NAC has a duly appointed safety officer, floor marshals and first aid resources.

HUMAN RESOURCE MANAGEMENT

081 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

Magnet Theatre Educational Trust (Marc Wessels)

1. Introduction The staff complement of the NAC included one resignation and one appointment at top management level as well as three resignations and one appointment among professional qualified personnel. Temporary staff members were hired to assist in the Finance Administration Units. Plans to expand the NAC’s internship programme were implemented with six interns being appointed. The NAC reviewed a number of policies in order to comply with legislation and in an effort to improve the well-being of its employees. In the year under review, the HR policy environment was considerably strengthened through a review of some HR policies.

2. Human Resource Oversight Statistics The NAC is a small organisation, employing 25 full time staff members.

TOTAL PERSONNEL COST TOTAL EXPENDITURE FOR THE ENTITY (R’000)

PERSONNEL EXPENDITURE (R’000)

PERSONNEL EXP. AS A % OF TOTAL EXP. (R’000)

NO. OF EMPLOYEES

AVERAGE PERSONNEL COST PER EMPLOYEE (R’000)

NAC STAFF

102 225

13 984

13.7%

559

TEMPORARY STAFF

102 225

1 885

1.8%

105

15.55

664

PROGRAMME

516

PROVISIONS

TOTAL

102 225

16 497

PERSONNEL COST BY SALARY BAND LEVEL

PERSONNEL EXPENDITURE (R’000)

% OF PERSONNEL EXP. TO TOTAL PERSONNEL COST (R’000)

NO. OF EMPLOYEES

AVERAGE PERSONNEL COST PER EMPLOYEE (R’000)

TOP MANAGEMENT

2 414

16.4%

1 207

SENIOR MANAGEMENT

819

5.6%

819

PROFESSIONAL QUALIFIED

1 970

13.4%

657

SKILLED

7 638

51.9%

449

SEMI-SKILLED

1 395

9.5%

155

UNSKILLED

466

3.2%

TOTAL

14 702

100%

3 329

082 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

TRAINING COSTS DIRECTORATE/ BUSINESS UNIT

TRAINING EXPENDITURE (R’000)

PERSONNEL EXPENDITURE (R’000)

TRAINING EXPENDITURE AS A % OF PERSONNEL COST.

NO. OF EMPLOYEES TRAINED

AVG. TRAINING COST PER EMPLOYEE

FINANCE

2 525

1.74%

GRANTS

5 153

2.1%

OPERATIONS

IT & ADMIN

1 791

MARKETING

693

1.4%

CEO

2 567

0.5%

HUMAN RESOURCES

384

TOTAL

13 113

181

6.0%

EMPLOYMENT AND VACANCIES 2012/2013 NO. OF EMPLOYEES

NAC

PROGRAMME

2013/2014 APPROVED POSTS

2013/2014 NO. OF EMPLOYEES

2014/2015 VACANCIES

2014/2015 NO. OF EMPLOYEES

2014/2015 APPROVED POSTS

% OF VACANCIES

2014/2015 VACANCIES

2014/2015 NO. OF EMPLOYEES

% OF VACANCIES

TOP MANAGEMENT

SENIOR MANAGEMENT

PROFESSIONAL QUALIFIED

SKILLED

SEMI-SKILLED

UNSKILLED

TOTAL

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EMPLOYMENT CHANGES SALARY BAND

EMPLOYMENT AT BEGINNING OF PERIOD

APPOINTMENTS

TERMINATIONS

EMPLOYMENT AT END OF THE PERIOD

TOP MANAGEMENT

SENIOR MANAGEMENT

PROFESSIONAL QUALIFIED

SKILLED

SEMI-SKILLED

UNSKILLED

TOTAL

REASONS FOR STAFF LEAVING The organisation recorded four terminations in the year under review. The affected staff members received an offer of employment outside the organisation or cited health reasons.

REASON

NUMBER

DEATH

RESIGNATION

DISMISSAL

RETIREMENT

ILL HEALTH

EXPIRY OF CONTRACT

OTHER

N/A

TOTAL

084 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

Hatched (John Hogg) Hatched (John Hogg)

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SEEP (Ruth Smith)

EMPLOYMENT CHANGES

LEVELS

EMPLOYMENT EQUIT Y STATUS AFRICAN

COLOURED

INDIAN

PERSONS WITH DISABILITIES

WHITE

TOP MANAGEMENT

SENIOR MANAGEMENT

PROFESSIONAL QUALIFIED

SKILLED

SEMI-SKILLED

UNSKILLED

CONTRACT STAFF

INTERNS

TOTAL

The NAC does not currently employ any people with disabilities.

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FINANCIAL INFORMATION

Ubu and the Truth Commission (Luke Younge)

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National Arts Council of South Africa Consolidated Annual Financial Statements for the year ended 31 March 2015 Registration number 1989/001413/08

General Information Country of incorporation and domicile South Africa Auditors Auditor - General of South Africa Company registration number 1989/001413/08

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Index The reports and statements set out below comprise the consolidated annual financial statements presented to the Council. Council's Responsibilities and Approval............................................................................................ 093 Report of the Auditor-General............................................................................................................. 095 Accounting Officer's Report................................................................................................................. 097 Consolidated Statement of Financial Position ................................................................................... 099 Consolidated Statement of Financial Performance .......................................................................... 100 Consolidated Statement of Changes in Net Assets ............................................................................ 100 Consolidated Cash Flow Statement..................................................................................................... 101 Accounting Policies............................................................................................................................... 102 Notes to the Consolidated Annual Financial Statements ................................................................. 102 The following supplementary information does not form part of the annual financial statements and is unaudited. Detailed Statement of Comprehensive Income.................................................................................. 141

Steven Cohen in Chandelier (John Hogg)

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National Arts Council of South Africa (Registration number 1989/001413/08) Consolidated Annual Financial Statements for the year ended 31 March 2015

Council’s Responsibilities and Approval The Council is required by the Public Finance Management Act (No 1 of 1999), to maintain adequate accounting records and is responsible for the content and integrity of the consolidated annual financial statements and related financial information included in this report. It is the responsibility of the Council to ensure that the consolidated annual financial statements fairly present the state of affairs of the National Arts Council of South Africa as at the end of the financial year and the results of its operations and cash flows for the period. The external auditors are engaged to express an independent opinion on the consolidated annual financial statements and were given unrestricted access to all financial records and related data. The consolidated annual financial statements have been prepared in accordance with Standards of Generally Recognised Accounting Practice (GRAP) including any interpretations, guidelines and directives issued by the Accounting Standards Board. The consolidated annual financial statements are based upon appropriate accounting policies consistently applied and supported by reasonable and prudent judgements and estimates. The Council acknowledges that they are ultimately responsible for the system of internal control established by the National Arts Council of South Africa and place considerable importance on maintaining a strong control environment. To enable the Council to meet these responsibilities, there are standards set by the Accounting Authority for internal control aimed at reducing the risk of error or deficit in a cost effective manner. The standards include the proper delegation of responsibilities within a clearly defined framework, effective accounting procedures and adequate segregation of duties to ensure an acceptable level of risk. These controls are monitored throughout the National

090 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

Arts Council of South Africa and all employees are required to maintain the highest ethical standards in ensuring the National Arts Council of South Africa’s business is conducted in a manner that in all reasonable circumstances is above reproach. The focus of risk management in the National Arts Council of South Africa is on identifying, assessing, managing and monitoring all known forms of risk across the organisation. While operating risk cannot be fully eliminated, the National Arts Council of South Africa endeavours to minimise these risks by ensuring that appropriate infrastructure, controls, systems and ethical behaviour are applied and managed within predetermined procedures and constraints. The Council is of the opinion, based on the information and explanations given by management, that the system of internal control provides reasonable assurance that the financial records may be relied on for the preparation of the consolidated annual financial statements. Any system of internal control however can provide only reasonable, and not absolute, assurance against material misstatement or deficit. The Council has reviewed the entity’s cash flow forecast for the year to 31 March 2015 and, in the light of this review and the current financial position, is satisfied that the entity has or has access to adequate resources to continue in operational existence for the foreseeable future. The National Arts Council of South Africa is wholly dependent on the Department of Arts and Culture for continued funding of operations. The consolidated annual financial statements are prepared on the basis that the National Arts Council of South Africa is a going concern. Although the Council is primarily responsible for the financial affairs of the entity, they are audited by the entity’s external auditors. The external auditors are responsible for independently reviewing and reporting on the entity’s consolidated annual financial statements. The consolidated annual financial statements have been Audited by the entity’s external auditors and their report is presented on page 8.

CHAIRPERSON: COUNCIL

Audit and Risk Committee Report We are pleased to present our report for the financial year ended 31 March 2015.

AUDIT AND RISK COMMITTEE MEMBERS AND ATTENDANCE The Audit and Risk Committee comprises the members listed hereunder and is required to meet at least four times per annum as per its approved terms of reference. During the year under review, five meetings were held.

NAME OF MEMBER

NUMBER OF MEETINGS ATTENDED

Mr Z Bhengu (Chairperson)

Mr N Ntshangase

Mr M Thebe

Ms T Moja

AUDIT AND RISK COMMITTEE RESPONSIBILITY The Audit and Risk Committee reports that it has complied with its responsibilities arising from section 55(1)(a) of the PFMA and Treasury Regulation 27.1. The Audit and Risk Committee also reports that it has adopted appropriate formal terms of reference in audit committee charter, has regulated its affairs in compliance with this charter and has discharged all its responsibilities as contained therein.

THE EFFECTIVENESS OF INTERNAL CONTROL The system of internal controls applied by the National Arts Council of South Africa over financial and risk management is effective, efficient and transparent. In line with the PFMA and the

King III Report on Corporate Governance requirements, internal audit provides the audit committee and management with assurance that the internal controls are appropriate and effective. This is achieved by means of the risk management process, as well as the identification of corrective actions and suggested enhancements to the controls and processes. From the various reports of the Internal Auditors, the Audit Report on the Annual Financial Statements, and the Management Report of the Auditorâ&#x20AC;&#x2018;General South Africa, it was noted that no matters were reported that indicate any material deficiencies in the system of internal control or any deviations therefrom. Accordingly, we can report that the system of internal control over financial reporting for the period under review was efficient and effective. The Audit and Risk Committee is satisfied with the content and quality of monthly and quarterly reports prepared and issued by the management of the National Arts Council of South Africa during the year under review.

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EVALUATION OF CONSOLIDATED

ACCOUNTING AUTHORITY’S

ANNUAL FINANCIAL

RESPONSIBILITY FOR THE

STATEMENTS

FINANCIAL STATEMENTS

The Audit and Risk Committee has: • Reviewed and discussed the audited consolidated annual financial statements to be included in the annual report, with the Auditor‑General and the internal auditors; • Reviewed changes in accounting policies and practices; • Reviewed the entities compliance with legal and regulatory provisions;

2. The council which constitutes the accounting authority is responsible for the preparation and fair presentation of these financial statements in accordance with South African Standards of Generally Recognised Accounting Practice (SA Standards of GRAP), the requirements of the Public Finance Management Act of South Africa , 1999 (Act No.1 of 1999) (PFMA), and for such internal control as the accounting authority determines is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.

INTERNAL AUDIT The Audit and Risk Committee is satisfied that the internal audit function is operating effectively and that it has addressed the risks pertinent to the National Arts Council of South Africa and its audits.

CHAIRPERSON: AUDIT AND RISK COMMITTEE 31 MARCH 2015

Report of the Auditor - General to the National Arts Council of South Africa INTRODUCTION 1. I have audited the annual financial statements of the National Arts Council of South Africa as set out on pages 94 to 135, which comprise the statement of financial position as at 31 March 2015, the statement of financial performance, statement of changes in net assets and the cash flow statement for the year then ended, as well as the notes, comprising a summary of significant accounting policies and other explanatory information.

092 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

AUDITOR-GENERAL’S RESPONSIBILITY 3. My responsibility is to express an opinion on these financial statements based on my audit. I conducted my audit in accordance with the International Standards on Auditing. Those standards require that I comply with ethical requirements, and plan and perform the audit to obtain reasonable assurance about whether the financial statements are free from material misstatement. 4. An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements. The procedures selected depend on the auditor ‘s judgement, including the assessment of the risks of material misstatement of the financial statements , whether due to fraud or error. In making those risk assessments , the auditor considers internal controls relevant to the entity ‘s preparation and fair presentation of the financial statements in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal controls. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by management, as well as evaluating the overall presentation of the financial statements. 5. I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my audit opinion.

OPINION 6. In my opinion the financial statements present fairly, in all material respects, the financial position of the National Arts Council as at 31 March 2015 and its financial performance and cash flows for the year then ended, in accordance with the SA Standards of GRAP and the requirements of the PFMA.

EMPHASIS OF MATTER 7. I draw attention to the matter below. My opinion is not modified in respect of this matter:

RESTATEMENT OF CORRESPONDING FIGURES 8. As disclosed in note 35 to the financial statements, the corresponding figures for 31 March 2014 have been restated as a result of errors discovered during 2015 in the financial statements of the National Arts Council of South Africa at, and for the year ended , 31 March 2014.

REPORT ON OTHER LEGAL AND REGULATORY REQUIREMENTS 9. In accordance with the Public Audit Act of South Africa, 2004 (Act No. 25 of 2004) and the general notice issued in terms thereof, I have a responsibility to report findings on the reported performance information against predetermined objectives for selected objectives presented in the annual performance report, compliance with legislation and internal control. The objective of my tests was to identify reportable findings as described under each subheading but not to gather evidence to express assurance on these matters. Accordingly, I do not express an opinion or conclusion on these matters.

PREDETERMINED OBJECTIVES 10. I performed procedures to obtain evidence about the usefulness and reliability of the reported performance information for the following selected objectives presented in the annual performance report of the public entity for the year ended 31 March 2015:

• OBJECTIVE 1: Organisational development on page 45 to 46 • OBJECTIVE 2: Equity in the Arts on page 41 • OBJECTIVE 3: Sustainable arts capacity on page 42 • OBJECTIVE 4: Strengthening the practise of the arts through focused, efficient and effective grant making on page 40 11. I evaluated the reported performance information against the overall criteria of usefulness and reliability. 12. I evaluated the usefulness of the reported performance information to determine whether it was presented in accordance with the National Treasury’s annual reporting principles and whether the reported performance was consistent with the planned objectives. I further performed tests to determine whether indicators and targets were well defined, verifiable, specific , measurable, time bound and relevant, as required by the National Treasury ‘s Framework for managing programme performance information (FMPPI). 13. I assessed the reliability of the reported performance information to determine whether it was valid, accurate and complete. 14. I did not identify any material findings on the usefulness and reliability of the reported performance information for the selected objectives .

ADDITIONAL MATTER 15. Although I identified no material findings on the usefulness and reliability of the reported performance information for the selected objectives , I draw attention to the following matter:

ACHIEVEMENT OF PLANNED TARGETS 16. Refer to the annual performance report on pages 40 to 47 for information on the achievement of planned targets for the year.

COMPLIANCE WITH LEGISLATION 17. I performed procedures to obtain evidence that the public entity had complied with applicable

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legislation regarding financial matters, financial management and other related matters. I did not identify any instances of material non-compliance with specific matters in key legislation, as set out in the general notice issued in terms of the PAA.

INTERNAL CONTROL 18. I considered internal control relevant to my audit of the financial statements, annual performance report and compliance with laws and regulations. I did not identify any significant deficiencies in internal controls.

AUDITOR - GENERAL OF SOUTH AFRICA 31 MARCH 2015

094 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

Accounting Officerâ&#x20AC;&#x2122;s Report The Council submits their report for the year ended 31 March 2015.

1. GOING CONCERN We draw attention to the fact that as at 31 March 2015, the National Arts Council of South Africa had accumulated surplus of R58 392 142 and that the entityâ&#x20AC;&#x2122;s total assets exceeded its liabilities by R61 621 182. The consolidated annual financial statements have been prepared on the basis of accounting policies applicable to a going concern. This basis presumes that funds will be available to finance future operations and that the realisation of assets and settlement of liabilities, contingent obligations and commitments will occur in the ordinary course of business. The accumulated surplus of R58 392 142 includes projects contracted but not fully paid and projects approved by Council but not contracted. The National Arts Council submitted the request to National Treasury to retain the surplus.

Omar Badsha - Teacher with class of eighty children, Inanda 1983

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2. SUBSEQUENT EVENTS CONSOLIDATED STATEMENT OF FINANCIAL POSITION NOTE(S)

31 MARCH 2015 R

RESTATED 31 MARCH 2014 R

1 627 701

1 408 914

7 013 255

5 518 176

Assets Current Assets Trade and other receivables Other receivables from non-exchange transactions Cash and cash equivalents

47 645 132

53 908 760

56 286 088

60 835 850

Non-Current Assets Investment property

11 050 000

11 000 000

Property, plant and equipment

6 331 321

7 045 984

295 984

26 986

17 677 305

18 072 970

73 963 393

78 908 820

Intangible assets

total assets

Liabilities Current Liabilities Other payables from non-exchange transactions

5 485 288

4 797 026

Trade and other payables

4 629 077

3 198 019

Projects and bursaries payable

794 171

922 482

653 171

3 067 737

426 947

84 247

778 778

12 342 212

12 921 678

Finance lease obligation DAC - France - South Africa Season Project Administered Funds

Deferred Grant income

Non-Current Liabilities -

921 186

Total liabilities

12 342 212

13 842 864

Net Assets

61 621 182

65 065 957

3 229 040

3 004 752

Finance lease obligation

Net Assets Reserves Revaluation reserve

Accumulated surplus

58 392 142

62 061 205

Total Net Assets

61 621 182

65 065 957

096 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

CONSOLIDATED STATEMENT OF FINANCIAL PERFORMANCE NOTE(S)

31 MARCH 2015 R

RESTATED 31 MARCH 2014 R

Revenue from non-exchange transactions

91 865 000

87 554 000

Revenue from exchange transactions

1 168 019

1 069 798

93 033 019

88 623 798

Gross surplus Other income

3 088 873

2 933 059

Operating expenses

(15 516 667)

(15 111 448)

Staff costs

(16 293 747)

(15 127 884)

Projects and bursaries expenses

(70 240 318)

(73 205 066)

(5 928 840)

(11 887 541)

Operating deficit Investment income Fair value adjustments

2 918 521

2 193 428

50 000

1 900 000

(234 977)

(269 914)

(3 195 296)

(8 064 027)

REVALUATION RESERVE R

ACCUMULATED SURPLUS R

TOTAL NET ASSETS R

2 373 787

70 125 232

72 499 019

Revaluation of land building

630 965

Net income (losses) recognised directly in net assets

630 965

(8 064 027)

630 965

(8 064 027)

(7 433 062)

Finance costs (Deficit) surplus for the year

CONSOLIDATED STATEMENT OF CHANGES IN NET ASSETS

Balance at 01 April 2013 Changes in net assets

Surplus for the year Total recognised income and expenses for the year

Total changes Balance at 01 April, 2014

630 965

(8 064 027)

(7 433 062)

3 004 752

62 061 205

65 065 957

(473 767)

Changes in net assets Prior period error â&#x20AC;&#x2018;Note 33 Revaluation of land and buildings

224 288

Net income (losses) recognised directly in net assets

224 288

(473 767)

(249 479)

(3 195 296)

Surplus for the year Total recognised income and expenses for the year

224 288

(3 669 063)

(3 444 775)

Total changes

224 288

(3 669 063)

(3 444 775)

3 229 040

58 392 142

61 621 182

Balance at 31 March 2015

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CONSOLIDATED CASH FLOW STATEMENT NOTE(S)

31 MARCH 2015 R

RESTATED 31 MARCH 2014 R

91 865 000

95 804 469

Interest received â&#x20AC;&#x2018; call account

2 991 632

2 193 428

Other income

1 657 119

1 702 298

96 513 751

99 700 195

Staff costs

(16 293 747)

(15 127 884)

Suppliers

(14 801 303)

(24 037 641)

(234 977)

(269 914)

(70 240 318)

(73 205 066)

(101 570 345)

(112 640 505)

(5 056 594)

(12 940 310)

Purchase of property, plant and equipment

(287 908)

(443 316)

Non cash Profit on extinguished asset

7 519

Proceeds from sale of PPE

5 333

Purchase of other intangible assets

(274 771)

(24 470)

(555 160)

(462 453)

CASH FLOWS FROM OPERATING ACTIVITIES Receipts Grants and other income received

Payments

Finance costs Projects and bursaries

Net cash flows from operating activities

CASH FLOWS FROM INVESTING ACTIVITIES

Net cash flows from investing activities

CASH FLOWS FROM FINANCING ACTIVITIES Finance lease payments Net increase/(decrease) in cash and cash equivalents Cash and cash equivalents at the beginning of the year Cash and cash equivalents at the end of the year

098 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

(651 874)

(465 362)

(6 263 628)

(13 868 125)

53 908 760

67 776 885

47 645 132

53 908 760

Accounting Policies 1. PRESENTATION OF CONSOLIDATED ANNUAL FINANCIAL STATEMENTS The consolidated annual financial statements have been prepared in accordance with the Standards of Generally Recognised Accounting Practice (GRAP) including any interpretations, guidelines and directives issued by the Accounting Standards Board. The following are the GRAP standards complied with: GR AP 1: (as revised in 2010): Presentation of Financial Statements GR AP 2: (as revised in 2010): Cash Flow Statement GR AP 3: (as revised in 2013): Accounting policies, changes in accounting estimates & errors GR AP 4: The Effects of Changes in Foreign Exchange Rates GR AP 5: Borrowing Costs GR AP 6: Consolidated and Separate Financial Statements GR AP 9: (as revised in 2010): Revenue from exchange transactions GR AP 13: (as revised in 2010) leases GR AP 14: (as revised in 2010): Events after the reporting date GR AP 16: Investment Property GR AP 17: (as revised in 2010): Property, Plant & Equipment GR AP 19: (as revised in 2010): Provisions, Contingent Liabilities and Contingent Assets GR AP 21: Impairment of non–cash generating assets GR AP 23: (as revised in 2010): Revenue from non‑exchange transactions GR AP 24: (as revised in 2010) Presentation of budget information in financial statements GR AP 25: Employee Benefits GR AP 26: (as revised in 2010): Impairment of cash generating assets GR AP 31: Intangible assets GR AP 104: Financial instruments

The following are GRAP Standards that are effective on the 01 April 2015 and the entity has opted to use the transitional period until 2015 for the full implementation: GR AP 103: Heritage assets (revised version effective date is 01 April 2015 ) GR AP 106: Transfer of Functions between Entities Not Under Common Control GR AP 107: Mergers GR AP 18: Segment Reporting Other GRAP Standards issued but not yet effective that might affect the entity in future are as follows: GR AP 20: Related Party Disclosure GR AP 108: Statutory Receivables Management has considered all the above‑mentioned GRAP Standards approved but not yet effective and anticipates that the adoption of these standards will not have a significant impact on the financial position, financial performance or cash flow of the entity. These consolidated annual financial statements have been prepared on an accrual basis of accounting and are in accordance with historical cost convention unless specified otherwise. They are presented in South African Rand. A summary of the significant accounting policies, which have been consistently applied, is presented below. These accounting policies are consistent with the policies applied in the previous financial year.

1.1 CONSOLIDATION Basis of consolidation

The consolidated annual financial statements incorporate the annual statements of the National Arts Council of South Africa and all controlled entities, including special purpose entities, which are controlled by the National Arts council of South Africa. Control exists because the National Arts Council of South Africa has the power to govern the financial and operating policies of Fox street Properties and Downtown Studios so as to obtain benefits from thier activities. In terms of Fox Street Properties, the National Arts Council holds direct title to the investment property. With regards to Downtown Studios, the

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National Arts Council has an ongoing responsibility for its deficits. The consolidated annual financial statements of the controlling entity and its controlled entities used in the preparation of the consolidated annual financial statements are prepared at the same reporting date. When the reporting dates of the controlling entity and a controlled entity are different, the controlled entity prepares, for consolidation purposes, additional consolidated annual financial statements as of the same date as the controlling entity unless it is impracticable to do so. When the consolidated annual financial statements of a controlled entity used in the preparation of consolidated annual financial statements are prepared as of a reporting date different from that of the controlling entity, adjustments are made for the effects of significant transactions or events that occur between that date and the date of the controlling entity’s consolidated annual financial statements. In any case, the difference between the reporting date of the controlled entity and that of the controlling entity shall be no more than three months. The length of the reporting periods and any difference in the reporting dates is the same from period to period. All the consolidated entities have the same reporting date, i.e. National Arts Council, Downtown Studios and Fox Street Properties have a reporting date of 31 March 2015. All intra‑entity transactions, balances, revenues and expenses are eliminated in full on consolidation. Adjustments are made when necessary to the consolidated annual financial statements of the controlled entities to bring their accounting policies in line with those of the controlling entity.

is inherent in the formation of estimates. Actual results in the future could differ from these estimates which may be material to the consolidated annual financial statements.

Accounting polices used for the consolidation: The accounting policies used by the NAC, Fox Street Properties and DownTown Studios are the same in all respects and consistent with the prior year.

Property, plant and equipment are tangible non‑current assets that are held for use in the production or supply of goods or services, rental to others, or for administrative purposes, and are expected to be used for more than one period.

1.2 SIGNIFICANT ACCOUNTING JUDGEMENTS

The cost of an item of property, plant and equipment is recognised as an asset when: • it is probable that future economic benefits or service potential associated with the item will flow to the entity; and • the cost of the item can be measured reliably. Property, plant and equipment is initially measured at cost.

In preparing the consolidated annual financial statements, management is required to make estimates and assumptions that affect the amounts represented in the consolidated annual financial statements and related disclosures. The use of available information and the application of judgement

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1.3 INVESTMENT PROPERTY

Investment property is property held to earn rentals or for capital appreciation or both, rather than for: • use in the production or supply of goods or services; or • administrative purposes; or • sale in the ordinary course of operations. Owner‑occupied property is property held for use in the production or supply of goods or services or for administrative purposes. Investment property is initially recognised at cost. Transaction costs are included in the initial measurement. Where investment property is acquired at no cost or for a nominal cost, its cost is its fair value as at the date of acquisition. Costs include costs incurred initially and costs incurred subsequently to add to, or to replace a part of, or service a property. If a replacement part is recognised in the carrying amount of the investment property, the carrying amount of the replaced part is derecognised.

Fair value

Subsequent to initial measurement investment property is measured at fair value annually. The fair value of investment property reflects market conditions at the reporting date. A gain or loss arising from a change in fair value is included in net surplus or deficit for the period in which it arises.

1.4 PROPERTY, PLANT AND EQUIPMENT

The cost of an item of property, plant and equipment is the purchase price and other costs attributable to bring the asset to the location and condition necessary for it to be capable of operating in the manner intended by management. Trade discounts and rebates are deducted in arriving at the cost. Where an asset is acquired at no cost, or for a nominal cost, its cost is its fair value as at date of acquisition. Where an item of property, plant and equipment is acquired in exchange for a non‑monetary asset or monetary assets, or a combination of monetary and non‑monetary assets, the asset acquired is initially measured at fair value. If the acquired item’s fair value was not determinable, its deemed cost is the carrying amount of the asset(s) given up.

Costs include those incurred initially to acquire or construct an item of property, plant and equipment and the costs incurred subsequently to add to, replace part of, or service it. If a replacement cost is recognised in the carrying amount of an item of property, plant and equipment, the carrying amount of the replaced part is derecognised. Property, plant and equipment is carried at cost less accumulated depreciation and any impairment losses. Property, plant and equipment are depreciated on a straight line basis over their expected useful lives to their estimated residual value. The Council adopted revaluation model for measurement of land and buildings and the revaluation is performed annually/ when need arises.

The useful lives of items of property, plant and equipment have been assessed as follows:

ITEM

USEFUL LIFE

Land

Indefinite

Buildings

50 years

Furniture and fixtures

6 years

Motor vehicles

5 years

Office equipment

5 years

Computer equipment

3 years

Paintings

Not depreciated

Banners

3 years

Photocopiers

5 years

Musical instruments

3 to 8 years

Digital equipment

3 years

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The residual value, and the useful life and depreciation method of each asset is reviewed at the end of each reporting date. If the expectations differ from previous estimates, the change is accounted for as a change in accounting estimate. Reviewing the useful life of an asset on an annual basis does not require the entity to amend the previous estimate unless expectations materially differ from the previous estimate. Acquisition of assets will depend on availability of budget. Each part of an item of property, plant and equipment with a cost that is significant in relation to the total cost of the item, is depreciated separately. The depreciation charge for each period is recognised in the surplus or deficit unless it is included in the carrying amount of another asset. Items of property, plant and equipment are derecognised when the asset is disposed of, or when there are no further economic benefits or service potential expected from the use of the asset. The gain or loss arising from the derecognition of an item of property, plant and equipment is included in the surplus or deficit when the item is derecognised. The gain or loss arising from the derecognition of an item of property, plant and equipment is determined as the difference between the net disposal proceeds, if any, and the carrying amount of the item. The paintings are carried at cost and they are not depreciated.

1.5 INTANGIBLE ASSETS

An asset is identified as an intangible asset when it: • is capable of being separated or divided from an entity and sold, transferred, licensed, rented or exchanged, either individually or together with a related contract, assets or liability; or • arises from contractual rights or other legal rights, regardless of whether those rights are transferable or separate from the entity or from other rights and obligations. An intangible asset is recognised when: • it is probable that the expected future economic benefits or service potential that are attributable to the asset will flow to the entity; and • the cost or fair value of the asset can be measured reliably.

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Intangible assets are initially recognised at cost. Reviewing the useful life of intangible assets on an annual basis does not require the entity to amend the previous estimate unless expectations materially differ from the previous estimate. Acquisition of assets will depend on availability of budget. Where intangible asset is acquired at no or nominal cost, the cost shall be its fair value as at the date of acquisition. Amortisation is provided to write down the intangible assets, on a straight line basis, to their residual values as follows: Computer software 2 years Intangible assets are derecognised: • on disposal; or • when no future economic benefits or service potential are expected from their use or disposal. The gain or loss is the difference between the net disposal proceeds, if any, and the carrying amount. It is recognised in the surplus or deficit when the asset is derecognised.

1.6 FINANCIAL INSTRUMENTS

A financial instrument is any contract that gives rise to a financial asset of one entity and a financial liability or a residual interest of another entity. Derecognition is the removal of a previously recognised financial asset or financial liability from an entity’s statement of financial position. A financial asset is: • cash; • a residual interest of another entity; or • a contractual right to: -- receive cash or another financial asset from another entity; or -- exchange financial assets or financial liabilities with another entity under conditions that are potentially favourable to the entity. A financial liability is any liability that has a contractual obligation to: • deliver cash or another financial asset to another entity; or • exchange financial assets or financial liabilities under conditions that are potentially unfavourable to the entity.

A financial liability is any liability that has a contractual obligation to: â&#x20AC;˘ deliver cash or another financial asset to another entity; or â&#x20AC;˘ exchange financial assets or financial liabilities under conditions that are potentially unfavourable to the entity.

CLASS

Classification

The National Arts Council of South Africa has the following types of financial assets (classes and category) as reflected on the face of the statement of financial position or in the notes thereto:

CATEGORY

Trade and other payables

Financial liability measured at fair value

Projects and bursaries payables

Financial liability measured at fair value

Unspent conditional grants and receipts

Financial liability measured at fair value

Initial recognition

The entity recognises a financial asset or a financial liability in its statement of financial position when the entity becomes a party to the contractual provisions of the instrument.

Initial measurement of financial assets and financial liabilities

The National Arts Council of South Africa measures a financial asset and financial liability initially at its fair value plus transaction costs that are directly attributable to the acquisition or issue of the financial asset or financial liability. The National Arts Council of South Africa measures a financial asset and financial liability initially at its fair value [if subsequently measured at fair value].

Subsequent measurement of financial assets and financial liabilities. The National Arts Council of South Africa measures all financial assets and financial liabilities after initial recognition using the following categories: â&#x20AC;˘ Financial instruments at fair value.

All financial assets measured at amortised cost, or cost, are subject to an impairment review.

Gains and losses

A gain or loss arising from a change in the fair value of a financial asset or financial liability measured at fair value is recognised in surplus or deficit. For financial assets and financial liabilities measured at amortised cost or cost, a gain or loss is recognised in surplus or deficit when the financial asset or financial liability is derecognised or impaired, or through the amortisation process.

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Madia a Thavha - Creativity in Craft Training Programme

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Derecognition Financial assets

The National Arts Council of South Africa derecognises financial assets using trade date accounting. The National Arts Council of South Africa derecognises a financial asset only when: â&#x20AC;˘ The contractual rights to the cash flows from the financial asset expire, are settled or waived; â&#x20AC;˘ The National Arts Council of South Africa transfers to another party substantially all of the risks and rewards of ownership of the financial asset; or â&#x20AC;˘ The National Arts Council of South Africa, despite having retained some significant risks and rewards of ownership of the financial asset, has transferred control of the asset to another party and the other party has the practical ability to sell the asset in its entirety to an unrelated third party, and is able to exercise that ability unilaterally and without needing to impose additional restrictions on the transfer. In this case, the National Arts Council of South Africa : -- derecognise the asset; and -- recognise separately any rights and obligations created or retained in the transfer.

Financial liabilities

The National Arts Council of South Africa removes a financial liability (or a part of a financial liability) from its statement of financial position when it is extinguished - i.e. when the obligation specified in the contract is discharged, cancelled, expires or waived.

Presentation

Interest relating to a financial instrument or a component that is a financial liability is recognised as revenue or expense in surplus or deficit. Losses and gains relating to a financial instrument or a component that is a financial liability is recognised as revenue or expense in surplus or deficit. A financial asset and a financial liability are only offset and the net amount presented in the statement of financial position when the National Arts Council of South Africa currently has a legally enforceable right to set off the recognised amounts and intends either to settle on a net basis, or to realise the asset and settle the liability simultaneously. In accounting for a transfer of a financial asset that does not qualify for derecognition, the National

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Arts Council of South Africa does not offset the transferred asset and the associated liability.

1.7 LEASES

A lease is classified as a finance lease if it transfers substantially all the risks and rewards incidental to ownership. A lease is classified as an operating lease if it does not transfer substantially all the risks and rewards incidental to ownership.

Finance leases - lessee

Finance leases are recognised as assets and liabilities in the statement of financial position at amounts equal to the fair value of the leased property or, if lower, the present value of the minimum lease payments. The corresponding liability to the lessor is included in the statement of financial position as a finance lease obligation. Minimum lease payments are apportioned between the finance charge and reduction of the outstanding liability. The finance charge is allocated to each period during the lease term so as to produce a constant periodic rate of interest on the remaining balance of the liability.

Operating leases - lessor

Operating lease revenue is recognised as revenue on a straight-line basis over the lease term. Initial direct costs incurred in negotiating and arranging operating leases are added to the carrying amount of the leased asset and recognised as an expense over the lease term on the same basis as the lease revenue. The aggregate cost of incentives is recognised as a reduction of rental revenue over the lease term on a straight-line basis. The aggregate benefit of incentives is recognised as a reduction of rental expense over the lease term on a straight-line basis. Income for leases is disclosed under revenue in the statement of financial performance.

Operating leases - lessee

Operating lease payments are recognised as an expense on a straight-line basis over the lease term. The difference between the amounts recognised as an expense and the contractual payments are recognised as an operating lease asset or liability. Payment made under operating leases are charged against income on a straight line basis over the period of the lease.

1.8 IMPAIRMENT OF CASHGENERATING ASSETS

Cash-generating assets are those assets held by the entity with the primary objective of generating a commercial return. When an asset is deployed in a manner consistent with that adopted by a profitorientated entity, it generates a commercial return. Impairment is a loss in the future economic benefits or service potential of an asset, over and above the systematic recognition of the loss of the asset’s future economic benefits or service potential through depreciation (amortisation). Carrying amount is the amount at which an asset is recognised in the statement of financial position after deducting any accumulated depreciation and accumulated impairment losses thereon. A cash-generating unit is the smallest identifiable group of assets held with the primary objective of generating a commercial return that generates cash inflows from continuing use that are largely independent of the cash inflows from other assets or groups of assets. Costs of disposal are incremental costs directly attributable to the disposal of an asset, excluding finance costs and income tax expense. Depreciation (amortisation) is the systematic allocation of the depreciable amount of an asset over its useful life. Fair value less costs to sell is the amount obtainable from the sale of an asset in an arm’s length transaction between knowledgeable, willing parties, less the costs of disposal. Recoverable amount of an asset or a cash-generating unit is the higher of its fair value less costs to sell and its value in use. Useful life is either: a. the period of time over which an asset is expected to be used by the entity; or b. the number of production or similar units expected to be obtained from the asset by the entity.

1.9 SHARE CAPITAL / CONTRIBUTED CAPITAL

An equity instrument is any contract that evidences a residual interest in the assets of an entity after deducting all of its liabilities.

1.10 EMPLOYEE BENEFITS

Employee benefits are all forms of consideration given by an entity in exchange for service rendered by employees. A qualifying insurance policy is an insurance policy issued by an insurer that is not a related party (as defined in the Standard of GRAP on Related Party Disclosures) of the reporting entity, The proceeds of the policy can be used only to pay or fund employee benefits under a defined benefit plan and are not available to the reporting entity’s own creditors (even in liquidation) and cannot be paid to the reporting entity, unless either: • the proceeds represent surplus assets that are not needed for the policy to meet all the related employee benefit obligations; or • the proceeds are returned to the reporting entity to reimburse it for employee benefits already paid. Termination benefits are employee benefits payable as a result of either: • an entity’s decision to terminate an employee’s employment before the normal retirement date; or • an employee’s decision to accept voluntary redundancy in exchange for those benefits. Other long-term employee benefits are benefits (other than post-employment benefits and termination benefits) that are not due to be settled within twelve months after the end of the period in which the employees render the related service. Vested employee benefits are employee benefits that are not conditional on future employment. Composite social security programmes are established by legislation and operate as multiemployer plans to provide postemployment benefits as well as to provide benefits that are not consideration in exchange for service rendered by employees. A constructive obligation is an obligation that derives from an entity’s actions whereby an established pattern of past practice, published policies or a sufficiently specific current statement, the entity has indicated to other parties that it will accept certain responsibilities and as a result, the entity has created a valid expectation on the part of those other parties that it will discharge those responsibilities.

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1.11 PROVISIONS AND CONTINGENCIES

Provisions are recognised when: • the entity has a present obligation as a result of a past event; • it is probable that an outflow of resources embodying economic benefits or service potential will be required to settle the obligation; and • a reliable estimate can be made of the obligation. The amount of a provision is the best estimate of the expenditure expected to be required to settle the present obligation at the reporting date. Where the effect of time value of money is material, the amount of a provision is the present value of the expenditures expected to be required to settle the obligation. Where some or all of the expenditure required to settle a provision is expected to be reimbursed by another party, the reimbursement is recognised when, and only when, it is virtually certain that reimbursement will be received if the entity settles the obligation. The reimbursement is treated as a separate asset. The amount recognised for the reimbursement does not exceed the amount of the provision. Provisions are reviewed at each reporting date and adjusted to reflect the current best estimate. Provisions are reversed if it is no longer probable that an outflow of resources embodying economic benefits or service potential will be required, to settle the obligation. Where discounting is used, the carrying amount of a provision increases in each period to reflect the passage of time. This increase is recognised as an interest expense. A provision is used only for expenditure for which the provision was originally recognised. Provisions are not recognised for future operating deficits. Contingent assets and contingent liabilities are not recognised but are disclosed in the notes to the annual financial statements.

1.12 REVENUE FROM EXCHANGE TRANSACTIONS

Revenue is the gross inflow of economic benefits or service potential during the reporting period when those inflows result in an increase in net assets, other than increases relating to contributions from owners. An exchange transaction is one in which the entity receives assets or services, or has liabilities extinguished, and directly gives approximately

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equal value (primarily in the form of goods, services or use of assets) to the other party in exchange. Fair value is the amount for which an asset could be exchanged, or a liability settled, between knowledgeable, willing parties in an arm’s length transaction.

Measurement

Revenue is measured at the fair value of the consideration received or receivable, net of trade discounts and volume rebates.

1.13 REVENUE FROM NON-EXCHANGE TRANSACTIONS

Non-exchange transactions are defined as transactions where the entity receives value from another entity without directly giving approximately equal value in exchange. Revenue is the gross inflow of economic benefits or service potential during the reporting period when those inflows result in an increase in net assets, other than increases relating to contributions from owners. Fair value is the amount for which an asset could be exchanged, or a liability settled, between knowledgeable, willing parties in an arm’s length transaction. Other income, is recognised when the service is rendered and or money received.

Measurement

Revenue is measured at the fair value of the consideration received or receivable, net of trade discounts and volume rebates.

Government grants

Government grants are recognised as revenue when: • it is probable that the economic benefits or service potential associated with the transaction will flow to the entity, • the amount of the revenue can be measured reliably; and • to the extent to which there has been compliance with any restrictions associated with the grant. The entity assesses the degree of certainty attached to the flow of future economic benefits or service potential on the basis of the available evidence. Certain grants payable by one level of government to another are subject to the availability of funds. Revenue from these grants is only recognised when it is probable that the economic benefits or service potential associated with the transaction will flow

to the entity. An announcement at the beginning of a financial year that grants may be available for qualifying entities in accordance with an agreed programme may not be sufficient evidence of the probability of the flow. Revenue is then only recognised once evidence of the probability of the flow becomes available. Restrictions on government grants may result in such revenue being recognised on a time proportion basis. Where there is no restriction on the period, such revenue is recognised on receipt or when the Act becomes effective, whichever is earlier. When government remit grants on a reimbursement basis, revenue is recognised when the qualifying expense has been incurred and to the extent that any other reimbursement have been complied with.

1.14 INVESTMENT INCOME

Investment income is recognised on a time proportion basis using the effective interest method.

1.15 BORROWING COSTS

It is inappropriate to capitalise borrowing costs when, and only when, there is clear evidence that it is difficult to link the borrowing requirements of an entity directly to the nature of the expenditure to be funded i.e. capital or current. Borrowing costs are recognised as an expense in the period in which they are incurred.

1.16 FRUITLESS AND WASTEFUL EXPENDITURE

Fruitless expenditure means expenditure which was made in vain and would have been avoided had reasonable care been exercised. All expenditure relating to fruitless and wasteful expenditure is recognised as an expense in the statement of financial performance in the year that the expenditure was incurred. The expenditure is classified in accordance with the nature of the expense, and where recovered, it is subsequently accounted for as revenue in the statement of financial performance.

1.17 IRREGULAR EXPENDITURE

Irregular expenditure as defined in Section 1 of the PFMA is expenditure other than unauthorised expenditure, incurred in contravention of or, that is not in accordance with a requirement of any applicable legislation, including : a. this Act; or b. the State Tender Board Act, 1968 (Act No.

86 of 1968), or any regulations made in terms of the Act; or c. any provincial legislation providing for procurement procedures in that provincial government. National Treasury Practice Note no. 4 of 2008/2009 which was issued in terms of Sections 76(1) to 76(4) of the PFMA requires the following (effective from 1 April 2008): -- Irregular expenditure that was incurred and identified during the current financial year and which was condoned before year end and/ or before finalisation of the financial statements must also be recorded appropriately in the irregular expenditure register. In such an instance, no further action is also required with the exception of updating the note to the financial statements. -- Irregular expenditure that was incurred and identified during the current financial year and for which condonement is being awaited at year end must be recorded in the irregular expenditure register. No further action is required with the exception of updating the note to the financial statements. -- Where irregular expenditure was incurred in the previous financial year and is only condoned in the following financial year, the register and the disclosure note to the financial statements must be updated with the amount condoned. -- Irregular expenditure that was incurred and identified during the current financial year and which was not condoned by the National Treasury or the relevant authority must be recorded appropriately in the irregular expenditure register. If liability for the irregular expenditure can be attributed to a person, a debt account must be created if such a person is liable in law. Immediate steps must thereafter be taken to recover the amount from the person concerned. If recovery is not possible, the accounting officer or accounting authority may write off theamount as debt impairment and disclose such in the relevant note to the financial statements. The irregular expenditure register must also be updated accordingly. If the irregular expenditure has not been condoned and no person is liable in law, the expenditure related thereto must remain against the relevant programme/expenditure item, be disclosed as such in the note to the financial statements and updated accordingly in the irregular expenditure register.

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1.18 CONDITIONAL GRANTS AND RECEIPTS

Revenue received from conditional grants, donations and funding are recognised as revenue to the extent that the National Arts Council of South Africa has complied with any of the criteria, conditions or obligations embodied in the agreement. To the extent that the criteria, conditions or obligations have not been met, a liability is recognised.

1.19 BUDGET INFORMATION

The National Arts Council of South Africa is typically subject to budgetary limits in the form of budget authorisations, which is given effect through authorising legislation.

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General purpose financial reporting by National Arts Council of South Africa shall provide information on whether resources were obtained and used in accordance with the adopted budget. The Annual Financial Statements and the budget are on the same basis of accounting therefore a comparison with the budgeted amounts for the reporting period have been included in the Annual Financial Statements. Due to the constraints of the 30% ceiling for administration expenses, Council approved the use of interest earned to augment the operations of the National Arts Council of South Africa.

Omar Badsha - Three penny game, 1965

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2. PROPERTY, PLANT AND EQUIPMENT COST / VALUATION

Land

2014 ACCUMULATED DEPRECIATION AND ACCUMULATED IMPAIRMENT

CARRYING VALUE

COST / VALUATION

2015 ACCUMULATED DEPRECIATION AND ACCUMULATED IMPAIRMENT

CARRYING VALUE

1 301 616

4 044 849

(344 820)

3 700 029

4 044 848

(246 464)

3 798 384

Furniture and fixtures

59 920

(19 711)

40 209

433 878

(379 435)

54 443

Motor vehicles

13 994

(2 426)

11 568

145 559

(145 559)

Office equipment

135 012

(59 055)

75 957

332 476

(281 379)

51 097

Computer equipment

733 243

(390 480)

342 763

702 779

(574 338)

128 441

Musical instruments

3 004 000

(2 835 569)

168 431

3 004 000

(2 531 126)

472 874

52 270

63 638

2 540 749

(1 936 110)

604 639

2 540 749

(1 427 961)

1 112 788

Banners

57 414

(26 923)

30 491

126 177

(72 444)

53 733

Digital equipment

13 719

(10 371)

3 348

64 415

(55 445)

8 970

Buildings

Painting Photocopiers

Total

11 956 786

(5 625 465)

6 331 321

12 760 135

(5 714 151)

7 045 984

RECONCILIATION OF PROPERTY, PLANT AND EQUIPMENT ‑ 2015 OPENING ADDITIONS DISPOSALS BALANCE

Buildings

REVALUATIONS

OTHER MOVEMENT, CHANGES

DEPRECIATION

TOTAL

3 798 384

(10 773)

(87 582)

3 700 029

53 733

(4 104)

(19 138)

30 491

23 135

(11 567)

11 568

128 441

273 353

(6 412)

105 847

(942)

(157 524)

342 763

Office equipment

51 097

14 555

(1 109)

35 788

7 157

(31 531)

75 957

Digital equipment

8 970

(2 752)

(2 870)

3 348

1 112 788

(508 149)

604 639

Furniture and fixtures

54 443

(270)

(4 219)

(9 745)

40 209

Paintings

63 638

(11 368)

52 270

1 301 616

472 874

(304 443)

168 431

7 045 984

287 908

(7 791)

164 770

(27 001)

1 132 549

6 331 321

Banners Motor vehicles Computer equipment

Photocopiers

Land Musical instruments Total

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RECONCILIATION OF PROPERTY, PLANT AND EQUIPMENT ‑ 2014 OPENING ADDITIONS DISPOSALS BALANCE

Buildings

REVALUATIONS

OTHER MOVEMENT, CHANGES

DEPRECIATION

TOTAL

3 266 335

140 000

473 225

(81 176)

3 798 384

10 162

56 344

4 870

(17 643)

53 733

120 152

109 920

(5 333)

(1 511)

(94 787)

128 441

Office equipment

61 581

28 261

(14 808)

(23 937)

51 097

Digital equipment

9 865

8 610

(1 278)

(8 227)

8 970

1 620 938

(508 150)

1 112 788

Furniture and fixtures

50 685

54 181

(1 267)

1 268

(50 424)

54 443

Paintings

17 638

46 000

63 638

1 143 874

157 741

1 301 616

839 534

(366 660)

472 874

7 140 764

443 316

(6 600)

630 966

(11 458)

(1 151 004)

7 045 984

Banners Computer equipment

Photocopiers

Land Musical instruments Total

CHANGE IN ESTIMATE: USEFUL LIFE OF ASSETS REVIEW

A change in the estimate useful life of assets in Computer, Office Equipment, and Motor Vehicles resulted in change in depreciation for the year. NAC discloses the nature and an amount of a change in an accounting estimate that has an effect in the current period and is expected to have an effect in future.This change in estimate is applied prospectively. 2015

2014

241 056

Increase in depreciation expenses

31 554

Increase in Income

31 554

Depreciation expenses before change in estimates Change in accounting estimates Effects of change in estimates in future periods:

REVALUATIONS

The effective date of the revaluations was 31 March 2015. Revaluations were performed by independent valuer, Mr Jaco Goosen, Professional Valuer, of Corporate Valuations. Mr Goosen is not connected to the National Arts Council of South Africa. The Income Capitalisation Method was adopted to determine the market value.

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

113

3. INTANGIBLE ASSETS

Computer software

COST / VALUATION

2014 ACCUMULATED DEPRECIATION AND ACCUMULATED IMPAIRMENT

CARRYING VALUE

450 286

(154 302)

295 984

COST / 2015 VALU- ACCUMULATED ATION DEPRECIATION AND ACCUMULATED IMPAIRMENT 356 967

CARRYING VALUE

(329 981)

26 986

RECONCILIATION OF PROPERTY, PLANT AND EQUIPMENT ‑ 2015 OPENING ADDITIONS DISPOSALS BALANCE

Computer software

26 986

274 771

REVALUATIONS

OTHER MOVEMENT, CHANGES

DEPRECIATION

TOTAL

59 516

2 215

178 522

295 984

(246 026)

RECONCILIATION OF INTANGIBLE ASSETS ‑ 2014

Computer software

OPENING BALANCE

ADDITIONS

AMORTISATION

TOTAL

107 375

24 470

(104 859)

26 986

CHANGE IN ESTIMATE : USEFUL LIFE OF ASSETS REVIEW

A change in the estimate useful life of intangible assets resulted in change in amortisation for the year. NAC discloses the nature and an amount of a change in an accounting estimate that has an effect in the current period and is expected to have an effect in future. This change in estimate is applied prospectively.

ARMORTISATION EXPENSES BEFORE CHANGE IN ESTIMATES Depreciation expenses before change in estimates

103 788

Increase in Amortisation expenses

24 799

Decrease in Income

24 799

Change in accounting estimates Effects of change in estimates in future periods:

4. INVESTMENT PROPERTY

Investment property ‑ Fox Street Properties (62 Goud Street, Jhb)

COST / VALUATION

2014 ACCUMULATED DEPRECIATION AND ACCUMULATED IMPAIRMENT

CARRYING VALUE

COST / VALUATION

2015 ACCUMULATED DEPRECIATION AND ACCUMULATED IMPAIRMENT

CARRYING VALUE

11 050 000

11 000 000

114 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

RECONCILIATION OF INVESTMENT PROPERTY ‑ 2015

Investment property

OPENING BALANCE

FAIR VALUE ADJUSTMENTS

TOTAL

11 000 000

50 000

11 050 000

OPENING BALANCE

FAIR VALUE ADJUSTMENTS

TOTAL

9 100 000

1 900 000

11 000 000

RECONCILIATION OF INVESTMENT PROPERTY ‑ 2014

Investment property

The fair value of the investment property was determined by an external, independent property valuer, Mr J Goosen of Corporate Valuations, has an appropriate recognized professional qualification and recent experience in the area and category of property being valued in 2015. The Income Capitalisation Method was adopted to determine the market value of the property.

5. FAIR VALUE ADJUSTMENTS Investment property (fair value model)

50 000

1 900 000

6. TRADE AND OTHER RECEIVABLES 2015 R

2014 R

Staff advances

4 000

1 745

Debtors

17 587

14 771

Trade debtors

540 148

496 565

Downtown Music Hub

444 763

394 412

Supplier overpayment

145 084

Overpayment

229 057

204 404

Non‑ exchange other recievables

246 854

208

297 017

France South Africa Season Project Total

1 627 701

1 408 914

Trade receivable are non‑interest bearing and are normally settled on a 30 day term.

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

115

7. CASH AND CASH EQUIVALENTS 2015 R

2014 R

Cash and cash equivalents consist of: Cash on hand Cash at Bank ‑ Current Account Cash at Bank ‑ Call Account Total

23 500

6 000

982 645

4 592 091

46 638 987

49 310 669

47 645 132

53 908 760

5 000

Analysis of Bank Accounts NAC ‑ Petty Cash Downtown Studios ‑ Petty Cash NAC ‑ Current Account NAC Downtown Studios ‑ Current Account

18 500

1 000

867 611

3 967 271

264

17 697

Mmino ‑ Current Account

31 699

32 427

France ‑ South Africa Season ‑ Current Account

71 935

562 737

46 308 009

48 543 967

330 978

766 702

NAC ‑ Call Account Mmino ‑ Call Account Bank account UNESCO Total

11 136

11 959

47 645 132

53 908 760

2015 R

2014 R

8. FINANCE LEASE OBLIGATION

Minimum lease payments due ‑ within one year ‑ in second to fifth year inclusive

less: future finance charges Present value of minimum lease payments

922 482

836 505

991 285

922 482

1 827 790

(253 433)

922 482

1 574 357

Present value of minimum lease payments due ‑ within one year

922 482

653 171

921 186

922 482

1 574 357

921 186

922 482

653 171

922 482

1 574 357

‑ in second to fifth year inclusive

Non‑current liabilities Current liabilities

The finance lease obligation relates to rental of photocopier machines for a period of five years from 25 March 2011.

116 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

MARKET RISK 2015 R

2014 R

The carrying amounts of finance lease liabilities are denominated in the following currencies: Rand

922 482

1 574 357

For details of sensitivity of exposures to market risk related to finance lease liabilities, as well as liquidity risk refer to note 30 . The fair value of finance lease liabilities approximates their carrying amounts.

Garage Dance Ensemble

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

117

9. ADMINISTERED FUNDS The National Arts Council of South Africa received funds from the Department of Arts and Culture to be used for specific projects. These funds are only used as directed by the Department of Arts and Culture in achieving its mandate. 2015 R

2014 R

Department of Arts and Culture (DAC) ringfenced Funds DAC Ringfenced Funds

426 947

10. PROJECTS AND BURSARIES PAYABLE Projects and bursary expenditure is the core business of the National Arts Council of South Africa. In the prior periods, the National Arts Council recognised the approved funding amounts and related liability after the approval of the projects. Subsequent payments were processed through the liability. In the year under review, only those projects and bursaries that met the criteria of a present obligation are recognised. 2015 R

2014 R

Projects and Bursaries Payable 2011 Surplus Projects payable Movement Project income realised Creditors Control Account / Allocated Grant Control Total

(26 000)

1 052 591

(489 770)

(710 585)

(342 006)

(278 401)

(26 000)

(794 171)

(26 000)

2015 R

2014 R

11. TRADE AND OTHER PAYABLES

Trade payables

1 419 661

578 553

Accrued leave pay

214 282

Accrued 13th Cheque bonus

193 609

Accrued expenses

1 087 246

1 315 443

Deposits received

72 053

63 759

Salary Control Account

173 312

339 126

Downtown Studios

591 056

Income received in advance

368 363

310 082

Accrued Performance Bonus provision

509 495

Total

Trade payables are non-interest bearing and are normally settled on a 30-day term.

118 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

4 629 077

3 198 019

RECONCILIATION OF PROVISION- 2015

Leave pay Perfromance bonus Total

OPENING BALANCE

CURRENT YEAR PROVISION

UTILISED DURING THE YEAR

PRIOR YEAR PROVISION

CLOSING BALANCE

632 971

(214 282)

(632 971)

(214 282)

(509 495)

632 971

(723 777)

(632 971)

(723 777)

12. REVENUE 2015 R

2014 R

Rental income

413 686

441 089

Tapes and studio time

754 333

628 709

91 865 000

87 554 000

Government grants received - NAC Total

93 033 019

88 623 798

The amount included in revenue arising from exchanges of goods or services are: Rental income

413 686

441 089

Tapes and studio time

754 333

628 709

1 168 019

1 069 798

91 865 000

87 554 000

2015 R

2014 R

Total

The amount included in revenue arising from non-exchange transactions is: Government Grant Department of Arts and Culture - grant received NAC

13. OTHER INCOME

Sundry Income

85 670

345 323

Other income

1 682 507

1 242 509

Income from closure of France South Africa Season Project

1 300 059

1 334 495

Bad debts recovered Total

20 636

10 732

3 088 872

2 933 059

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

119

14. INVESTMENT INCOME 2015 R

2014 R

Interest income Bank

2 918 521

2 193 428

15. OPERATING EXPENSES 2015 R Auditors feesâ&#x20AC;&#x2122;

2014 R

2 349 645

1 665 411

384 157

233 457

29 301

32 049

404 438

307 807

64 002

965 511

78 729

1 228 907

1 254 954

Discount allowed

22 263

7 547

Expenses reimbursement

18 030

17 024

Bad debts Bank charges Cleaning Conference and seminars Consulting and professional fees Depreciation, amortisation and impairments

Fines and penalties IT expenses

1 266

16 487

1 078 600

922 312

469 163

305 525

Legal expenses

13 750

412 812

Loss on disposal of assets

4 842

14 808

Insurance

Marketing

1 301 807

1 042 477

Monitoring of projects

11 795

381 016

Motor vehicle expenses

138 161

21 095

Postage and courier

115 069

125 957

Printing and stationery

491 336

313 081

Organisational review

40 425

561 450

Recruitment costs

157 157

43 280

1 703 578

1 944 701

Repairs and maintenance

165 555

352 612

Security

961 429

919 536

170 611

180 330

87 722

100 478

122 433

22 484

Remuneration - Council and Panel

Staff training Staff welfare Subscriptions and membership fees Tape expenses Telephone and fax Travel - local Venue and catering expenses Water and electricity Total

120 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

1 076

629 203

692 156

1 252 998

1 480 659

168 178

411 792

1 029 276

1 184 344

15 516 667

15 111 448

16. STAFF COSTS 2015 R

2014 R

Basic salary

13 670 836

12 927 496

Medical aid

966 040

936 274

97 985

108 885

1 455

36 371

125 890

(282 835)

1 330 801

1 371 023

Overtime payments

35 182

30 670

Housing benefits and allowances

65 558

UIF WCA Leave pay Provident fund

Total

16 293 747

15 127 884

2015 R

2014 R

17. FINANCE COSTS

Finance Costs

234 977

269 914

The entity has made a submission requesting the Minister of Finance to approve the finance lease transaction.

18. BAD DEBTS 2015 R Bad Debts

384 157

2014 R 233 457

The bad debts relate to Downtown Studios and Fox Street Properties.

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

121

19. CASH USED IN OPERATIONS 2015 R Deficit

2014 R

(3 195 296)

(8 064 027)

1 311 071

1 255 863

4 842

Other non-cash expenses

(162 283)

Deferred Income

118 014

(50 000)

(1 900 000)

13th Cheque provision included in staff costs

216 838

Leave provision included in staff cost

(282 835)

Adjustments for: Depreciation and amortisation Gain on sale of assets

Fair value adjustments

Discount allowed Bad debts Movement in deferred account France South Africa Season Project

7 547

384 157

233 457

(694 531)

(2 820 906)

(3 438 760)

(421 680)

523 029

(1 495 079)

Changes in working capital: Trade and other receivables Other receivables from non-exchange transactions Trade and other payables Projects and bursaries payable Total

1 431 058

(420 562)

489 770

(1 026 591)

(5 056 594)

(12 940 310)

20. COMMITMENTS 2015 R

2014 R

Authorised expenditure Projects - Already contracted for but not fully paid Prior Years Projects (balance)

1 903 707

2 098 707

Arts Organisation Support Funding (Company Funding - 2012)

742 000

1 182 000

Arts Organisation Support Funding (Company Funding - 2013)

2 000

790 000

2 427 250

4 325 000

Company funding (prior periods) Orchestras - 2013 balance

564 505

Orchestras - 2014 balance

1 252 000

2013 Projects (balance)

1 429 452

2 044 402

2014 Projects (balance)

495 714

9 219 898

2015 Projects (balance)

12 122 391

122 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

2015 R Capacity building programme across all disciplines

2014 R

294 328

50 000

570 000

Support Funding - festival funding

2 390 000

Recognition of arts icons across all disciplines

1 171 180

So You Think You Can Write

50 437

Dance Scholarship

400 000

Creativity in Craft Training

60 375

332 350

Multi Panel Projects x 2

10 500

110 000

5 000

Supporting access and diversity

SAMRO Music Capacity Project Biography Writing

50 000

BASA Partnership

300 000

1 111 213

889 738

3 464 074

Suppliers - Already contracted for but not fully paid Purchase Orders issued and service not yet delivered at year end Flagship projects - 2014 Supporting resource centres

550 000

25 288 181

27 689 545

Projects - Not yet contracted for but authorised by Council Expired projects - 2014 Flagship projects - 2014

1 902 591

5 000 000

22 000 000

Supporting access and diversity (nine provinces)

1 050 000

Supporting resource centres

2 000 000

Expired projects- 2015

1 575 484

BASA partnership Biography Writing

1 300 000

300 000

Book on African Dance

400 000

Catalogue on SA Artifacts

500 000

NAC Desk

960 000

RMB Primary Schools Research

270 000

Round tables

200 000

Residency: Howard University

250 000

Legacy Group Hotels and Resorts

300 000

NEPAD

250 000

IFACCA Emergency funding

Total Commitments

200 000

1 000 000

10 905 484

29 452 591

36 193 665

57 142 136

The accumulated surplus from prior years will be utilised as outlined above. This committed expenditure relates to projects contracted for but have not yet received funds. Some of these contracts are due to projects not being completed as yet or awaiting project closure reports and annual financial statements as required by the stipulated funding conditions. In the 2013/2014 financial year, NAC received approval to retain surplus funds, these were paid during the current financial year, only the balance is disclosed above.

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

123

21. RELATED PARTIES

Relationships Controlling entity

Controlling Entity - grant

Department of Arts and Culture

Strategic partner on music project

Downtown Music Hub

RELATED PARTY BALANCES 2015 R

2014 R

Amounts included in trade receivable (trade payable) regarding related parties Department of Arts and Culture

(426 947)

All balances are unsecured, interest free, with no fixed terms of repayment and are recorded at fair values.

RELATED PARTY TRANSACTIONS 2015 R

2014 R

Amount paid to (received from) related parties Department of Arts and Culture Downtown Music Hub

(91 865 000)

(87 554 000)

(1 095 343)

(1 199 518)

Eastern Cape Philharmonic Society

Fox Street did not receive a grant from either NAC or DAC.

124 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

22. EMOLUMENTS EXECUTIVE 31 MARCH 2015 BASIC SALARY SALARY STRUCTURE - 13TH CHEQUE

OTHER BENEFITS

TRAVEL PROVIDENT MEDICAL ALLOWFUND AID ANCE CONTRIBU- CONTRIBUTION TIONS

*TOTAL REMUNERATION

Chief Executive Officer

988 800

7 426

300 000

1 296 226

Chief Financial Officer - Thami Khubeka

136 497

28 437

13 650

12 254

190 838

Chief Financial Officer Dumisani Dlamini

550 053

26 193

14 000

84 000

62 023

17 500

753 769

1 675 350

54 630

21 426

384 000

75 673

29 754

2 240 833

*The total remuneration is the cost to company package to the National Arts Council. Mr Thami Khubeka resigned on the 31 May 2014.

31 MARCH 2014 BASIC SALARY

SALARY STRUCTURE - 13TH CHEQUE

LEAVE OTHER BENEFIT BENEFITS LUMP SUM PAYOUT

SETTLEMENT AMOUNT

TRAVEL ALLOWANCE

PROVIDENT FUND CONTRIBUTION

MEDICAL AID CONTRIBUTIONS

*TOTAL REMUNERATION

Chief Executive Officer (from 1 July 2013)

675 000

1 338

225 000

901 338

Chief Executive Officer (to 30 June 2013)

210 946

27 015

53 685

10 169

24 314

7 876

334 005

Chief Operating Officer (to 28 Feb 2014)

648 659

118 024

211 619

20 611

521 788

74 541

22 212

1 617 454

Chief Financial Officer

668 158

68 248

17 334

81 898

68 925

904 563

2 202 763

213 287

265 304

49 452

521 788

225 000

180 753

99 013

3 757 360

*The total remuneration is the cost to company package to the National Arts Council.

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

125

31 MARCH 2015, NON EXECUTIVE ‑ COUNCIL MEMBERS NON EXECUTIVE ‑ COUNCIL MEMBERS

REMUNERATION

TOTAL

100 848

Mr Mohau Samuel Mphomela

47 152

Mr Zamindlela Joseph Bhengu

91 728

Prof. Muxe Nkondo

26 208

Ms Phyllis Klotz

59 904

Ms Phyllis Nwabisa Mavuso

48 672

41 184

Ms Seipati Bernice Dichabe

67 888

Ms Nakedi Ribane

89 856

11 232

22 464

Ms T Moja‑ External Audit member

41 184

Prof. FK Netshiombo

11 232

Mr Bongani John Tembe

18 720

Mr Jonny Simon Masilela

59 904

76 752

Mr Manne Shadrack Thebe

44 928

Mr Chikapa Enoch Ray Phiri

22 464

Prof. Dominic Thorburn

67 392

Mr IL Mokoena

26 208

Ms Angie Makwetla

Ms Erica Elk

Dr MG Mapaya Ms Linda Marques

Mr Ndela Nelson Ntshangase

Mr W Mofokeng

NON EXECUTIVE ‑ PANEL MEMBERS

26 208

1 002 128

REMUNERATION

TOTAL

Mr Vonani Bila

8 451

Mr Pascar Dube

8 451

Ms Magdalena Harely

8 451

Ms Zaide Harneker

50 707

Mr Alfred Hinkel

8 451

Dr Cynthia Hoza

8 451

Mr Lucky Khuzwayo

8 451

Dr Linda Kwatsha

8 451

Dr Daniel LeRoux

8 451

Mr Jerry Mabuza

8 451

126 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

50 707

NON EXECUTIVE â&#x20AC;&#x2018; PANEL MEMBERS

REMUNERATION

TOTAL

Mr Mathene Mahanke

8 451

Mr Phumlani Mbanya

16 902

Mr Mfanimpela Mlambo

12 677

Mr Mandrew Mnguni

12 677

Dr Collen Morare

16 902

Mr Windy Mthembu

16 902

8 451

Mr Sibusiso Njeza

12 677

Mr Jimmy Notuku

8 451

Ms Nobesuthu Rayi

8 451

Mr Andile Magengelele

Ms Mmabatho Mogomotsi

Mr Vusi Ngema

Mr Oupa Salemane

12 677

Mr Gerard Samuel

8 451

Ms Susan Sellschop

8 451

Mr Skin Sipoko

8 451

12 677

Ms Bam Bulelwa Ncumisa

8 451

Ms Marie Coetzee

8 451

Ms Dlamini Jabu Gladys

21 128

25 354

Mr Arendse Michael

Mr Dlamini Thamsanqa Igor Ms Froneman Nikki

8 451

12 677

8 451

21 128

16 902

Ms Langa Londiwe

21 128

Mr Lebeko Jacob

12 677

Mr Maahlamela Tebogo David

21 128

Mr Mabilo Othusitse

21 128

Ms Makhene Nthabiseng

21 128

Ms Grootboom Monwabisi Ms Julie Lizelle

Ms Mdlalose Nomsa Ms Mdluli Same Mr Mqcodo Wandile

21 128

33 805

21 128

Mr Mkwanazi Lionel

21 128

Mr.Monamodi Moses

12 677

Ms Nyamza Mamela

21 128

Ms Rose Tracey

21 128

Mr Sabbagha PJ

21 128

Thango Menzi

21 128

701 446

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

127

NON EXECUTIVE â&#x20AC;&#x2018; COUNCIL MEMBERS (MARCH 2014)

TOTAL

Ms Angie Makwetla

118 856

Mr Zamindlela Joseph Bhengu

110 240

Prof. Muxe Nkondo

52 416

Mr Mohau Samuel Mphomela

81 468

Ms Phylis Klotz

37 440

Ms Nwabisa Mavuso

48 672

Ms Erica Elk

29 952

Ms Seipati Bernice Dichabe

55 952

Ms Nakedi Ribane

43 056

Mr NM Lidovho

3 744

Ms Linda Marques

12 792

Prof. FK Netshiombo

14 976

Mr Bongani John Tembe

14 976

Mr Jonny Simon Masilela

48 672

86 112

Mr Manne Shadrack Thebe

59 904

Mr Chikapa Enoch Ray Phiri

29 952

Mr Dandheni Andrew Nhlangwini

20 592

Prof. Dominic Thorburn

48 672

Mr MD Mapanya

14 976

Mr Mpho Walter Mofokeng

13 416

Mr Ndela Nelson Ntshangase

Mr Isaac Mokoena

Nongogo (Ruphin Coudyzer)

REMUNERATION

128 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

5 616

952 452

NON EXECUTIVE â&#x20AC;&#x2018; PANEL MEMBERS

REMUNERATION

TOTAL

Mr Malesela Aphane

24 502

Mr Vonani Bila

24 502

Mr Pascar Dube

24 502

Ms Magdalena Harely

24 502

Ms Zaide Harneker

32 528

Mr Alfred Hinkel

24 502

Dr Cynthia Hoza

24 502

Mr Lucky Khuzwayo

24 928

Dr Linda Kwatsha

24 502

Dr Daniel LeRoux

16 477

Mr Jerry Mabuza

24 502

Mr Andile Magengelele

40 979

Mr Mathene Mahanke

24 502

Mr Phumlani Mbanya

32 528

Mr Mfanimpela Mlambo

24 502

Mr Mandrew Mnguni

24 502

Ms Mmabatho Mogomotsi

24 502

16 477

Mr Windy Mthembu

24 502

Mr Vusi Ngema

44 779

Mr Sibusiso Njeza

24 502

Mr Jimmy Notuku

24 502

16 477

Ms Nobesuthu Rayi

24 502

Mr Oupa Salemane

16 477

Mr Gerard Samuel

16 477

Ms Susan Sellschop

32 954

Mr Skin Sipoko

24 502

707 615

Dr Collen Morare

Ms Nontobeko Ntombela

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

129

23. GOING CONCERN We draw attention to the fact that at 31 March 2015, the entity had accumulated surplus of R58 392 142 and that the entityâ&#x20AC;&#x2122;s total assets exceed its liabilities by R61 621 182. The consolidated annual financial statements have been prepared on the basis of accounting

policies applicable to a going concern. This basis presumes that funds will be available to finance future operations and that the realisation of assets and settlement of liabilities, contingent obligations and commitments will occur in the ordinary course of business.

24. FRUITLESS AND WASTEFUL EXPENDITURE

2015 R

2014 R

During the financial year, interest on late payment of municipality, traffic fines, leave irrevocably and no show expenses were incurred by the National Arts Council.

241 403

16 487

During the prior financial year,management discovered the interest on late payment of municipality were incurred by Downtown and Fox street entities.

116 846

358 249

16 487

INCIDENT DISCIPLINARY STEPS/CRIMI NAL PROCEEDINGS

2015

2014

During the financial year, interest on late payment of municipality, traffic fines, leave irrevocably and no show expenses were incurred by the National Arts Council.

241 403

16 487

During the prior financial year, management discovered the interest on late payment of municipality were incurred by Downtown and Fox street entities.

116 846

16 487

Madia a Thavha - Creativity in Craft Training Programme

358 249

130 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

25. IRREGULAR EXPENDITURE

2015 R Opening balance

2014 R

24 912 501

22 386 266

1 258 590

2 526 235

(1 258 590)

Less: Amounts recoverable (not condoned)

Less: Amounts not recoverable (not condoned)

Add: Irregular Expenditure - current year - NAC, Downtown Studios & Fox Street Less: Amounts condoned

24 912 501

2 526 235

24 912 501

22 386 266

24 912 501

Analysis of expenditure Current year - 2 526 235 Prior years

DETAILS OF IRREGULAR EXPENDITURE – CURRENT YEAR INCIDENT

DISCIPLINARY STEPS TAKEN /CRIMINAL PROCEEDINGS

2015

2014

During the current financial year, the National Arts Council of South Africa integrated the financial records of Downtown Studios as a programme. Downtown Studios did not adopt the Treasury Regulations or follow the PFMA with regards to expenditure, hence all of Downtown Studio’s expenditure is irregular.

1 302 994

During the current financial year, the National Arts Council of South Africa integrated the financial records of Fox Street Properties as a programme. Fox Street Properties did not adopt the Treasury Regulations or follow the PFMA with regards to expenditure. Hence all of Fox Street Properties expenditure is irregular.

498 973

During the financial year, expenditure was incurred and paid to a service provider for a finance leases agreement signed for more than 36 months.

724 268

2 526 235

The entity has made a submission requesting the Minister of Arts and Culture to approve irregular expenditure.

NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

131

26. RISK MANAGEMENT LIQUIDITY

The National Arts Council of South Africa manages liquidity through the management of working capital, capital expenditure and cash flow and by variance reports between actual and budget items.

INTEREST RATE %

YEAR 1

YEAR 1 - 5

OVER 5 YEARS

922 482

INTEREST FREE

4 251 198

653 171

921 186

INTEREST FREE

3 198 019

Cash and cash equivalents

47 645 132

53 908 760

Trade and other receivables

1 583 740

1 408 914

As at 31 March 2015 Long-term liability Trade and other payables

As at 31 March 2014 Long-term liability Trade and other payables

Financial Instruments

As at 31 March 2015 the carrying values of cash and cash equivalents, trade and other payables approximate their fair values due to the short term maturities of these assets and liabilities as disclosed above.

Credit risk

Credit risk is the risk of economic loss should any of NACâ&#x20AC;&#x2122;s clients or market counter parties fail to fulfil thier contractual obligations. Financial assets, which potentially subject the entity to the risk of non-performance by counter parties and thereby subjecting it to credit concentrations of credit risk, consist mainly of cash and cash equivalents, investments and accounts receivable. Credit risk consists mainly of cash deposits, cash equivalents and trade receivables. The entity managed to limit its exposure by only dealing with well-established financial institutions, approved by the National Treasury. The entityâ&#x20AC;&#x2122;s exposure is continuously monitored by the Accounting

132 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

Authority. Interest rate risk is the risk that the fair value or future cash flows of a financial instrument will fluctuate because of changes in market interest rates. Liquidity risk is the risk encountered by an entity in the event of difficulty in meeting obligations associated with financial liabilities that are settled by delivering cash or another financial asset. Market risk is the risk that the fair value or future cash flows of a financial instrument will fluctuate because of changes in market prices. Market risk comprises three types of risk: currency risk, interest rate risk and other price risk. Other price risk is the risk that the fair value or future cash flows of a financial instrument will fluctuate because of changes in market prices (other than those arising from interest rate risk or currency risk), whether those changes are caused by factors specific to the individual financial instrument or its issuer, or factors affecting all similar financial instruments traded in the market.

2015

CHANGE IN INVESTMENT

UPWARD CHANGE

DOWNWARD CHANGE

Cash and cash equivalents

476 451

(476 451)

Finance lease

9 225

(9 225)

2014

CHANGE IN INVESTMENT

UPWARD CHANGE

DOWNWARD CHANGE

Cash and cash equivalents

539 088

(539 088)

Finance lease

15 744

(15 744)

27. PROJECT AND BURSARY EXPENSES 2015 R

2014 R

Projects

16 319 590

22 411 833

Orchestras

19 352 000

17 829 000

Organisational Support Funding (company funding)

25 873 523

18 077 500

Individuals

1 497 866

8 144 005

Bursaries

7 197 339

6 742 728

70 240 318

73 205 066

The projects costs of prior year comprise of ringfenced money for orchestras. The orchestras cost is disclosed separately in the current year.

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133

28. STATEMENT OF COMPARATIVE OF BUDGET AND ACTUAL AMOUNTS ORIGINAL BUDGET BUDGET ADJUSTMENTS

FINAL BUDGET

ACTUAL OUTCOME

VARIANCE

Financial performance -

20 636

(20 636)

91 865 000

Income from insurance

85 670

(85 670)

Other income - deferred income realised

1 682 507

(1 682 507)

1 500 000

2 918 521

(1 418 521)

Management fee

1 300 059

(1 300 059)

Rental and facilities

1 168 019

(1 168 019)

93 365 000

99 040 412

(5 675 412)

Audit fees

1 746 000

145 111

1 891 111

2 349 645

(458 534)

Bad debts

384 157

(384 157)

Bank charge

35 000

(9 995)

25 005

29 301

(4 296)

Cleaning

80 000

67 856

147 856

404 438

(256 582)

560 000

600 204

1 160 204

965 511

194 693

Depreciation and armotisation

1 228 907

(1 228 907)

Discount allowed

22 263

(22 263)

62 538

(54 373)

8 165

18 030

(9 865)

200 000

4 496

204 496

234 977

(30 481)

1 470 000

76 748

1 546 748

1 078 600

468 148

Insurance

250 000

(51 845)

198 155

469 163

(271 008)

Legal expenses

500 000

(134 438)

365 562

13 75

351 812

Marketing costs

299 986

1 018 893

1 318 879

1 301 807

17 072

4 842

(4 842)

50 000

(39 898)

10 102

68 588

11 795

56 793

193 015

(54 393)

138 622

138 161

461

69 300

40 425

28 875

Bad debts recovered Grant received

Interest received - call account

Total revenue (excluding capital transfers and Contributions)

Consulting

Expense reimbursements Finance costs It expenses

Loss on disposal sale of assets Minor assets Monitoring and evaluation Motor vehicle expenses Organisational review

134 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

ORIGINAL BUDGET

BUDGET ADJUSTMENTS

FINAL BUDGET

ACTUAL OUTCOME

VARIANCE

Penalties and fines

1 266

(1 266)

Postage and courier

20 000

95 617

115 617

115 069

548

390 000

261 119

651 119

491 336

159 783

121 447 136

70 240 318

51 206 818

Recruitment costs

120 000

80 000

200 000

157 157

42 843

Remuneration council and panel

2 932 514

(356 505)

2 576 009

1 703 578

872 431

Repairs and maintenance

580 000

(537 184)

42 816

165 555

(122 739)

Security

200 000

72 814

272 814

961 429

(688 615)

15 008 000

16 293 747

(1 285 747)

Staff training

490 000

(324 438)

165 562

170 611

(5 049)

Staff welfare

87 722

(87 722)

Subscription

122 433

(122 433)

Other operating

624 503

(624 503)

(61)

Telephone and fax

425 000

139 184

564 184

629 203

(65 019)

1 723 444

14 249

1 737 693

1 252 998

484 695

Venues and facilities

630 000

(397 044)

232 956

168 178

64 778

Water and electricity

470 000

(129 563)

340 437

1 029 276

(688 839)

150 507 136

102 285 709

48 221 427

Fair value adjustment

50 000

(100)%

Deficit for the year

(3 195 297)

Printing and stationery Project and bursaries expenses - current

Staff costs

Travel and accommodation

Total expenditure

Deficit was caused by depreciation,Downtown and Fox Street properties expenses which were not budgeted for.

29. GOVERNMENT GRANTS AND SUBSIDIES

Government grants received

2015 R

2014 R

91 865 000

87 554 000

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30. AUDITORS’ REMUNERATION

Auditors’ fees

2015 R

2014 R

2 349 645

1 665 411

31. OTHER RECEIVABLES FROM NON-EXCHANGE TRANSACTIONS

Downtown Studios - DTMH

2015 R

2014 R

7 013 255

5 518 176

The recievable amount relates to the management agreement between Downtown Studios and Downtown Music Hub.

32. REVALUATION RESERVE

Opening balance Change during the year

2015 R

2014 R

3 004 752

224 288

3 229 040

3 004 752

Change in accounting estimate.

33. PRIOR PERIOD ERROR The Norwegian Government has requested NAC to pay all outstanding amounts held by NAC relating to previous projects. The amount was recorded as income instead of liability as such the error. The error is accounting of a grant allocated that was recorded in the Income Statement in prior periods when it should have been a liability.It was not practical to correct the Income Statement and Statement of Financial Position retrospectively.

2014 R Norwegian Govr refund Debtors Control/ Allocated grant control

515 770 (42 003) (473 767)

136 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

34. OTHER PAYABLES FROM NON-EXCHANGE TRANSACTIONS

Fox Street -Downtown Music Hub

2015 R

2014 R

5 485 288

4 797 026

The payable amount relates to management agreement between Fox Street Properties and Downtown Music Hub. Downtown and Fox Street properties are currently being assisted to follow PFMA and supply chain policies.

35. COMPARATIVE FIGURES The annual financial statements are prepared on a comparative basis. Certain comparative figures have been restated for fair presentation. An amounts relating to receivables and payables, and income transactions were incorrectly elimited at consolidation. These amounts have been presented separately and the effect is as follows:

2015 R

2014 R

Decrease in trade and other receivables

747 150

Increase in other receivables from non-exchange

5 072 984

Increase in other payables from non-exchange

4 797 026

Decrease in projects and bursary payable

26 000

Increase in other income

1 199 518

36. CONTINGENCIES CONTINGENT LIABILITIES NAC has a case before the CCMA and the matter was settled in April 2015 , its outcome is not expected to have a material impact in the Annual Financial Statements.

37. ACTUAL OPERATING EXPENDITURE VERSUS BUDGETED OPERATING EXPENDITURE Refer to Appendix A for the comparison of actual operating expenditure versus budgeted expenditure.

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NOTE(S)

2015 R

2014 R

20 636

10 732

91 865 000

87 554 000

85 670

345 323

Other income - deferred income realised

1 682 507

1 242 509

Interest received - call account

2 918 521

2 193 428

Management fee

1 300 059

1 334 495

1 168 019

1 069 798

99 040 412

93 750 285

2 349 645

1 665 411

384 157

233 457

29 301

32 049

404 438

307 807

Conference

64 002

Consulting

965 511

78 729

1 228 907

1 254 954

Discount allowed

22 263

7 547

Expense reimbursements

18 030

17 024

234 977

269 914

1 266

16 487

1 078 600

922 312

469 163

305 525

Legal expenses

13 750

412 812

Loss on disposal of assets

4 842

14 808

1 301 807

1 042 477

Monitoring of projects

11 795

381 016

Motor vehicle expenses

138 161

21 095

Organisational review

40 425

561 450

Postage and courier

115 069

125 957

Printing and stationery

491 336

313 081

70 240 318

73 205 066

157 157

43 280

Revenue Bad debts recovered Government grants received

Income from insurance

Rental of facilities

Total Revenue

Expenditure Auditorsâ&#x20AC;&#x2122; fees Bad debts Bank charges Cleaning

Depreciation and amortisation

Finance costs Fines and penalties IT expenses Insurance

Marketing

Project and bursaries expenses Recruitment costs

138 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15

NOTE(S)

2015 R

2014 R

1 703 578

1 944 701

Repairs and maintenance

165 555

352 612

Security

961 429

919 536

16 293 747

15 127 884

Staff training

170 611

180 330

Staff welfare

87 722

100 478

Studio tapes

1 076

Subscriptions and website management

122 433

22 484

Telephone expenses

629 203

692 156

1 252 998

1 480 659

168 178

411 792

1 029 276

1 184 344

102 285 709

103 714 312

50 000

1 900 000

(3 195 297)

(8 064 027)

Remuneration - Council and Panel

Staff costs

Travel and accommodation Venue and catering expenses Water and electricity Total Expenditure Fair value adjustments (Deficit) / surplus for the year

Dominion (John Hogg)

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Omar Badsha - Figure in landscape 1971

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PHYSICAL ADDRESS

Tel: +27 (0)11 838 1383 Fax: +27 (0)11 838 6363 General enquiries: info@nac.org.za Request application forms via email: funding@nac.org.za

66 Margaret Mcingana Street (cnr Gwigwi Mrwebi) Newtown, Johannesburg South Africa

001 NATIONAL ARTS COUNCIL OF SOUTH AFRICA ANNUAL REPORT 2014/15