Creative Industry Guide Namibia '19 - '20

NA M I B I A CR EAT IV E I N D U ST RY G U I D E 2 0 1 9/ 20

NAMI BIA CREATIV E IN D U ST RY GUI DE 2 019 / 2 0 The Namibia Creative Industry Guide is a project by Joe Vision Production in collaboration with the National Arts Council of Namibia.

Imagine the jobs and incomes that could be generated from creative enterprises if they received similar government legislative support, such as mining. And that is how we build the creative economy.

- Joel Haikali

CREATIVE INDUSTRY GUIDETM Joe Vision Production CC P.O. Box 21182 Windhoek Namibia +264 81 256 0283 info@joe-vision.com Š 2019 by Joe Vision Production CC The Creative Industry Guide Namibia 2018 is published

by Joe Vision Production CC. Joe Vision Production CC reserves all the rights to the publication. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photo, play, recording, or any information storage and retrieval system without expressed permission by Joe Vision Production CC. The opinions express in this publication are not necessarily those of the publishers.

The publishers accept no legal liability regarding the copyright ownership ofbmaterial which was supplied to the publishers by any of the advertisers or contributors.

The directory information published herein was sourced from publicly available and accessed information.

Whilst every care has been taken to ensure accuracy of information contained herein, no liability can be accepted by the publishers or the contributors for any errors, misstatements or omissions which may have occurred.

ISBN 978-99945-89-95-1

credits

CREATIVE LUMINARIES credits PRODUCTION MANAGEMENT

CONTRIBUTORS

Suné Tietz

Ainna Kaundu Alexander Fase

PHOTO & ICON CREDITS

Fashion Council of Namibia

Freepik

Gina Figueira

Shutterstock

Helvi Elago Helen Harris

GRAPHIC DESIGN

Joan Biwa

Andrea Horsthemke

John Max

Clara Schnack

Karin Le Roux Karl Terblanche

ADDITIONAL ASSISTANCE

Kirsten Wiedow

Matthew Castleman

Kristen Capp Lena Niedermeier

PUBLISHED BY

Mark Mushiva

Joe Vision Production

Melkies Hausiku Moses Molatendi Niina Turtola Patrick Sam Reginald Grobler Remy Ngamije Sarala Krishnamurthy Seno Namwandi Start Art Stefan Hugo Toufic Beyhum

CONTENTS c o ntents

04

06

About this Guide and How to Use it

Joel & Sophie Haikali Executive Notes from the Creators

12

16

Ainna Kaundu Harnessing the Creative Industry Potential Through Intellectual Property

Mark Mushiva Technology is the Future

23

Advertising & Marketing Toufic Beyhum

37

Architecture

53 69

Craft

Lena Niedermeier and Reginald Grobler

Karin Le Roux

Design: Graphic, Fashion and Product Fashion Council of Namibia

08 Patrick Sam Cultural and Creative Industries are the Future

20 Survey Results

89

Film, Tv, Radio & Photography Joan Biwa Karl Terblanche

113

Information Communications & Technology Kirsten Wiedow Melkies Hausiku

123

Publishing

137

Archives, Galleries, Libraries & Museums

Remy Ngamije Alexander Fase

Helvi Elago Helen Harris and Gina Figuera

151

Music, Performing & Visual Arts Niina Turtola Stefan Hugo John Max

171

Creative Institutions, Services & Resources Sarala Krishnamurthy Kristin Capp Moses Molatendi Seno Namwandi

ABOUT THIS GUIDE

THE NAMIBIA CREATIVE INDUSTRY GUIDE IS DIVIDED INTO TEN DIFFERENT INDUSTRY SECTORS, NAMELY:

In its second edition, the Creative Industry Guide is still a first for Namibia. It puts the creative economy of Namibia into perspective through a comprehensive listing of creative companies, organizations and professionals ranging from architecture to visual arts and crafts, while at the same time offering insights from local industry experts on how the industry assists in the development of Namibia.

From design to education, the Guide showcases the range of economic activities within the Creative Namibian Industry while addressing the ever-increasing issue of ideas-generation, the value this holds for creative Namibians, as well as the exploitation of knowledge and information in a digital age.

1

Advertising & Marketing

2

Architecture

3

Crafts

4

Design: Product & Graphic

5

Film, TV, Video, Radio & Photography An invaluable resource introducing the narrative of financial contributions and the direction that creative vision is taking the country, the Creative Industry Guide of Namibia plays host to growing voice of creativity.

World-wide, creative industries have been accepted as an integral part of economic growth, with the Urban Studies Theorist Richard Florida suggesting that “human creativity is the ultimate economic resource”.

It is time that Namibians see the true value of creativity, the true worth of preserving and taking ownership of our cultures, and the potential for wealth generation, from informal trading in curios as much as from commercial campaigns.

After all, you can’t build the Namibian House without the right architects.

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Creative Industry Guide Namibia 2019/2020

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Information Communication & Technology

7

Publishing

8

Archives, Galleries, Libraries & Museums

9

Music, Performing & Visual Arts

10

Creative Insitutions, Services & Resources

HOW TO USE THIS GUIDE

THE GUIDE IS AIMED AT:

1. Policymakers >

Policymakers can use this guide to make informed decisions where creative industries in Namibia are concerned.

Each chapter in the guide deals with a specific sector of the Namibian Creative Industry. Listings

in each chapter are preceded by a contribution from an industry expert or experts offering their

2. Creative Pioneerss >

insight into the place their industry takes on the Namibian Creative Stage.

Creative entrepreneurs can use this guide to get a better understanding of their fields and how it contributes to the

Overall, please feel free to use the insights and

creative whole. The guide should also be a tool to foster

hard data in the Creative Industry Guide as a

collaboration in the Namibian creative landscape.

reference. We also ask that all creatives and researchers share their knowledge with the

Creative Industry Guide so that the next edition can be even more insightful.

3. Funders, Investors & Patrons >

www.creativeindustryguide.com

The guide can serve as a tool in the development of new or improved ways in dealing with challenges in the

Better access to information means a better

industry. It can be instrumental in the development of new

understanding of the service providers within the

projects, programmes, research and funding initiatives. Also

industry, economic opportunities and the issues

opportunity to discover new innovations and creative ideas.

they face. So, what now?

4. Audiences & Activists >

Audiences and arts activists can use this guide to see the pivotal role that they play in the development of the creative industries. By supporting local creative industries, whether it is enrolling your child in local arts activities or hiring professional service, our communities are key to the growth of the Namibian creative economy.

Creative Industry Guide Namibia 2019/2020

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Executive Notes from the Creators Since the launch of the first Creative Industry Guide (CIG) in 2018, we have been receiving overwhelmingly positive feedback and interest such as from education institutions that use the CIG to provide career guidance, as well as from creative businesses, who got exposure from being listed in Namibia and beyond.

The Guide was also used and distributed at Namibian Art Summit 2018 and participants from all over the world and particularly from other African countries were impressed. After the Art Summit, we further received interest from countries such as Zimbabwe, South Africa and Nigeria looking to collaborate to do their own Creative Industry Guide.

In Namibia, we are convinced that there is political will, clearly demonstrated by including the goal to increase employment in the creative and cultural industry formulated in the 5th National Development Plan from 2017. Namibia is also party to other international and regional instruments and efforts around implementing a Cultural Policy in Namibia are taking shape.

The Creative Industry Guide can therefore be a powerful tool towards finding out exactly to which areas we need to pay special attention with policies, incentives and investment and where there are opportunities for growth. As such we see the creative industry guide as the link between the government, the creative sector and other stakeholders. We therefore want to continue highlighting the economic potential of the creative industry. We have understood that the future of African economies as such including Namibia will depend on what comes from the mind and not what comes from the ground. The drought that hit us yet again and worse than previous years is a painful reminder of the need to diversify the economy and for finding more sustainable models towards socio-economic wellbeing for all.

This year, Creative Industry Guide in partnership with the National Art Council Namibia is also launching an online version of the guide to be easily accessible from anywhere. This opens the doors to a new market for our creative movers and shakers, making Namibian creative entrepreneurs accessible beyond borders and potentially laying the foundation for pan-African and international collaborations.

On the long run we believe that Namibia can position itself as a leader in the creative (knowledgebased) economy.

We dedicate these thoughts to our late friend and colleague Oshosheni Hiveluah, a pioneer in the film and creative industry in Namibia.

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Creative Industry Guide Namibia 2019/2020

Sophie Haikali EXECUTIVE PRODUCER Sophie Haikali is an Afro-German producer, writer and researcher based in Namibia since 2003.

She has written, conceptualized and produced documentaries on various topics short and feature films and content that

Joel Haikali CREATIVE DIRECTOR Joel Haikali is a Namibian filmmaker, researcher and creative entrepreneur who writes and directs most of his movies and documentaries from award winning short films to features.

In the past 10 years he has also established himself and the company as creative producers and facilitator of high level international projects, keen collabo-

was distributed all over Africa and internationally as well as facilitated and produced international productions. Sophie holds a Bachelor in Media Studies from the University of Namibia and a Master in Media Culture from Maastricht University. With diverse production, research and project experience in Namibia and abroad she has positioned herself as a leading producer with a great network and a track record

The future of African economies as such including Namibia will depend on what comes from the mind and not what comes from the ground.

of successful productions and projects.

rators beyond the film sector in Namibia, the region and beyond, advocate for knowledge based creative economy as well as a changemaker in the Namibian creative industry. Joel holds a Bachelor in Media Studies and a Research Master degree in film from the University of Namibia.

He is actively involved in the management of the film and creative industry as the Board Chairperson of the Namibia Film Commission.

Creative Industry Guide Namibia 2019/2020

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Cultural & Creative Industries are the Future

Patrick Sam

Developing nations face the challenge of human development as government efforts are unable to meet the demands of the population. This reality is compounded by the fact that Africa is experiencing demographic transition that is estimated to increase the share of its working age population by 60% by 2035.

This is indicative that beyond the current challenges,

Patrick Sam is a Namibian thought

opportunities of access and upward mobility are

leader, born and raised in Katutura,

steadily declining, particularly for youth and women,

a marginalized community in

especially if the status quo goes unchallenged. Existing

the capital, Windhoek. As the

development strategies mainly focus on traditional

chairperson of the NACN, he has

(extractive) industries to ensure the enhancement of

been driving the transformation of the Cultural and Creative Industries (CCI) in Namibia and Southern Africa. Patrick is a development consultant, broadcasting journalist, TV anchor and arts activist. As a Fulbright scholar, he completed an MA in International Education Development from Columbia University and holds a BA from University College Utrecht in the Netherlands. He hosts 2 weekly shows on the Namibian Broadcasting Corporation.

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Creative Industry Guide Namibia 2019/2020

economic opportunities, especially through the provision of employment. Current opportunities fail to maximize new and contemporary industries as possible pillars to accelerate economic as well as social, environmental and cultural development.

According to the African Competitiveness Report (2015),

for mass access and mass mobility,

the African share of the current global trade market is

accelerating human development.

2%, which means opportunities for African economies are limited and need to be fast tracked because a

According to a UNESCO commissioned Report,

worsening employment conditions could garner an army

written by Avril Joffe entitled, ‘The Cultural and

of unemployed youth that could further risk political

Creative Economy in Africa’, ‘strengthening and

stability, undermining the precondition for economic

promoting the cultural and creative economy in Africa is

opportunities for African people. The Cultural & Creative

important for two fundamental reasons: The first relates

Industry (CCI) is dynamic and multi-dimensional, and

to development in all its dimensions – human, social,

has been identified as a sector that can provide multiple

ecological and economic; and the second, to growth.

opportunities for human development.

The current

Development here is understood as the full range of

UNESCO framework focuses on creation, production,

human, social, ecological and economic development

exhibition and participation as key facets to human

covering artistic and creative self-expression, social

development.

development

inclusion and social cohesion as well as income

strategies, institutional arrangements, laws and policies,

generation, employment generation, poverty alleviation,

capacity, resource allocation, technology, education,

investment and city development’. The CCI is a key pillar

tourism, labour markets, policies, gender parity, inequality,

for national development and regional integration.

Regional

and

national

inequity migration and urbanization are key factors that must be investigated in order to uncover the bottlenecks

The recognition of the CCI comes at a time where

that limit the impact of the CCI on human development in

ownership and employment have become priorities on

Africa in order to optimize the benefits of the CCI.

the continent. In an article by Bloom entitled, “A new perspective on the economic consequences of population

According to UNESCO estimates, the CCI generates in the

change” its noted that the current job creation regime is

excess of 2.3 trillion dollars, which is 3% of the global GDP,

not keeping pace with population growth and is therefore

while providing 30 million employment opportunities. For

cardinal for African governments to develop policies

many emerging economies, cultural goods are rapidly

and invest in institutions that will cater to the rise of the

growing the sector as part of the world economy because

working population, while simultaneously meeting other

it’s transformative in creating employment, increasing

human development needs. These targets have to be

individual and household income and exports. Although

explored by national, regional and international bodies.

the sector has grown by 12% in many developing nations,

The CCI is entrenched in the idea of innovation and its

the opportunities in the CCI have not been maximized

set up to galvanize and contribute positively to socio-

in developing countries. North America, Europe & Asia

economic, political and conscious efforts that are aimed

account for 93% of the global revenue from the CCI and

at empowering communities and individuals.

85% of employment opportunities. In developing nations, shifting paradigms from a purely extractive mindset of

For this reason, the principles of innovation have also

the economy to establishing a diverse economy with the

been adopted by international instruments as well as

creative economy as an additional pillar could be the

regional protocols and policies. Innovation gains even

force to translate this opportunity into concrete economic

more momentum upon the realization that it can be used

growth for Africa. For this reason, Africa must leapfrog

as a mechanism for individuals to alleviate themselves

the world with new strategies that create opportunities

out of poverty. SADC and developing member states are

Creative Industry Guide Namibia 2019/2020

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key players in prioritizing the inclusion of the CCI in key

and communities. By doing so, Africans will position

national and international development strategies. For

themselves to own and create employment from their

example, the current SADC Trade and Industrialization

intellectual resources through the popularization and

Strategy does not involve the creative industries as a key

promotion of the CCI.

pillar, and other national development strategies have also not prioritized the sector. Potential for wealth and

Despite the CCI’s enormous potential, it finds itself in

job creation can be found in the creative industries via

a non-existent and/or nascent phase of national and

the generation and exploitation of Intellectual Property

regional development strategies and faces challenges

(IP). The acquisition and attainment of IP consolidates

that severely hinder its development. These include

ownership of an idea as a resource which can be

scarcity of funding and the lack of skilled personnel, which

maximized to the benefit of individuals, organizations

prevent entry into the industry. Along with this, there are poor distribution systems that hamper the exchange of creative goods and services, plus a distinct lack of access

According to UNESCO estimates, the CCI generates in the excess of 2.3 trillion dollars, which is 3% of the global GDP.

to domestic and international markets. An additional issue is copyright infringements which cost the creative economy financially and also has a detrimental impact on the reputation of the sector. Nevertheless, there are also connected industries which prosper when the CCI thrives.

These include tourism, trade, education, heritage and culture, communication, and sports. The CCI must ensure that it remains sustainable and profitable, not only to the individuals and institutions directly benefiting from it, but to the wider public. A social and cultural impact must be accompanied by an economic impact with a focus on achieving the triple baseline of ensuring the well-being of people, the sustainability of the planet and manifestation of prosperity in the livelihoods of humanity. To achieve these ends, the CCI must influence society and policy makers on its importance and value. Remember, “If we want things that we have never had, we have to do things that we have never done�.

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Creative Industry Guide Namibia 2019/2020

If we want things that we have never had, we have to do things that we have never done.

- Patrick Sam

Ainna Kaundu An admitted legal practitioner with a combined working experience

Harnessing the Creative Industry Potential through Intellectual Property System

in Law and Trade. A graduate of Master of Laws in International Trade and Investment Law, with

Intellectual property is simply the creation or product

expertise in intellectual property

of the mind. With that appreciation, it is interesting

(IP) and trade legal frameworks. I have developed and implemented

to note that, whilst natural resources are found in

a number of trade related legal,

certain countries and regions, but not in others things,

institutional and policy frameworks

intellectual resources are common to all humankind.

in Namibia, including the Industrial Property Act, Business and Intellectual Property Act, draft

Everything that we see in the physical, once existed in the mind and imagination of someone.

Property Practitioner framework, National Intellectual Property Policy, Consumer Protection Policy and draft Copyright Bill. I serve on Boards and Committees of national and international bodies in various capacities. I strive for

The power to create is a gift to all. In some people, it remains potential and dormant, while in others it is apparent and result in the songs that blesses our souls, books that enlighten us, novels which captivate our hearts, paintings which leaves us in awe, and movies that entertain us. This is an indication of how intellectual property enriches our lives.

effective execution and advance transformation-oriented strategies.

ainna 12

Creative Industry Guide Namibia 2019/2020

a

We are acutely aware that our country, the region and indeed the rest of the world, are experiencing an economic slowdown; and economists are hesitant to predict the exact moment of a future turnaround. However, it is during such trying times, that humanity makes its greatest creations and inventions. This is the natural response of the human race to any occurrence which threatens its existence or progress. It is therefore not a secret that the solution to our prevailing economic difficulty might lie in the intellect of the people.

A people that has created the space to imagine, invent, create and innovate, will never cease to grow and advance. It is with this understanding that the Government of Namibia has identified intellectual property as a stimulus for economic growth through the protection of intellectual property rights.

Intellectual Property Law for a dynamic creative industry in Namibia Intellectual property refers to creations of the mind such as inventions; literary and artistic works; and symbols, names and images used in commerce. Intellectual property is generally divided into two categories, namely: Industrial Property, including patents for inventions, trademark and industrial designs; and Copyright.

Copyright is a form of intellectual property law which protects original works of authorship including literary, dramatic, musical, and artistic works, such as poetry, novels, movies, songs, computer software, and architecture. In Namibia, the protection and promotion of copyright in Namibia is administered in terms of the Copyright and Neighboring Rights Protection Act, 1994 (Act No. 6 of 1994).

There are two types of rights under copyright, namely moral rights (which protect the non-economic interests of the author) and economic rights (which allow the rights owner to derive financial reward from the use of their works by others).

Copyright protection is vital for the development and promotion of the creative industry. Creative industry refers to the markets based on the creation and exploitation of intellectual property products.

The creative industry includes but is not limited to: advertising; design; film; video and photography; fine art illustrations; game development; handicraft; the phonogram industry; performing arts; publishing; software, computer games & electronic publishing; and radio & television. The creative industry is becoming an important building block for the knowledge-based economy (creative economy), particularly, with the emergence of the 4th Industrial Revolution. This modern-day revolution is characterised by a fusion of technologies that is blurring the lines between the physical, digital, and biological spheres. The 4th Industrial Revolution is an era of dynamic transformation, where creativity, innovation, technology, digitization, robotics and knowledge are fast becoming credible means of fostering prosperity.

Creative Industry Guide Namibia 2019/2020

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The creative industry, according to Namibia’s Fifth National Development Plan (NDP5), contributes 0.65% of the total employed population. To this end, the Government has set a

Copyright protection is vital for the development and promotion of the creative industry.

goal, in the NDP5, to increase the contribution by the creative industry to employment from 0.65% to 2% by 2022.

With the appropriate support infrastructure, Namibia’s creative industry holds the potential for inclusive socioeconomic development. Therefore, it is imperative that the policy, institutional, legislative and regulatory frameworks are pragmatic to create an appropriate environment for the development and prosperity of the creative industry.

Copyright protection and promotion is an important legal framework in the creative industry. The landscape of the creative industry has evolved and advanced significantly, propelled by the digital era, introducing opportunities and challenges which were not anticipated in the current Copyright Act. Evidently, the current legal landscape of copyright is limited

review of the existing copyright legal framework is to: •

and is aligned to the national development agenda of

in its response to the existing dynamics of the creative industry; particularly with regard to the current digital era, accompanied by new technologies that reproduce and distribute human expressions. Therefore, there is a need to review the current Copyright legal framework with the view of developing a new legal framework which is responsive and supports the development and promotion of the creative industry as a key driver in a knowledge-based economy.

Furthermore, there is a need to review the rationale and

Namibia; •

Namibia’s NDP5.

To this effect, the Business and Intellectual Property Authority of Namibia (BIPA), through its Department for Intellectual Property Services, is facilitating a review of the current copyright legal framework. The review is aimed at developing a new legislation which will serve the national development agenda and the industry, and which is aligned to international best practices. The rationale behind the

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Creative Industry Guide Namibia 2019/2020

ensure that the legal framework is responsive to the industry needs and users;

•

ensure that the legal framework is inclusive to cover technological advancements;

•

ensure that the legal framework is aligned to regional and international instruments and best practices;

•

effectively use the flexibilities, exceptions and limitations strategies available.

policy objectives for the copyright legal framework and align it to the national development agenda as provided for in

ensure that the legal framework supports, promotes

Key role-players in the creative industry agree that the proposed copyright law in Namibia should be informed and influenced by cultural traditions, social values, and socioeconomic conditions. Given the potential of the industry and widespread inequalities in income distribution and standards of living in the country, the primary objectives of the copyright law include the following: •

to provide authors and artists with effective means of commercialising their creativity;

• •

• •

to ensure that authors and artists receive appropriate

Note

rewards and fair attribution;

The Business and Intellectual Property Authority (BIPA) is a

to encourage the production and dissemination of

public enterprise established in terms of the Business and

artistic and intellectual works for the good of the

Intellectual Property Authority Act, 2016 (Act No. 8 of 2016)

general public;

with the following national objectives:

to promote civil and well-informed democratic

•

raise income and promote investment and create

to ensure the preservation and integrity of traditional

employment;

cultural expressions; •

•

to ensure that all Namibians have access to educational materials; and

•

to facilitate economic growth and development to

discourse;

to enhance the efficient protection of the business and IP in Namibia;

•

to promote a vibrant and diverse culture.

to facilitate and promote the efficient and effective registration of business and industrial property in Namibia;

The proposed copyright law is intended to achieve an

•

appropriate balance between incentivizing the creation of new works and providing the public with access to

to promote the conduct and use of business and intellectual property in Namibia;

•

those works.

to facilitate, streamline, simplify and harmonise the business and industrial property procedures, registrations, filings and searches to expedite economic

Last reflections:

growth and development; and

As I conclude, I will share some reflections on another important subject matter, namely, traditional knowledge

•

to enhance the efficient exchange and distribution of information.

and cultural expressions. The irony on this matter is, while Namibia values traditional knowledge and expressions of

The institution, through its Department for Intellectual

culture; there is currently no legal instrument which accords

Property Registrations, is spearheading the process of

protection to the same. In recent years, there have been

repealing the old copyright act and replacing it with an

discussions, heightened by misappropriation of cultural

updated, modern version that is responsive to the current

assets, of on ways to protect this subject matter.

Namibian landscape.

Stakeholders are considering whether or not the cultural assets can be protected in terms of the existing conventional intellectual property laws; however, due to the uniqueness of traditional knowledge and cultural expressions, there is a compelling argument to develop a sui generis law.

BIPA

will

therefore,

undertake

consultations

with

stakeholders to guide Namibia on the way to address this issue. What is important to note is, Namibia values these cultural assets; and therefore, it is time that this value is protected.

Technology is the future Mark Mushiva

The world is abuzz with the words “Fourth

Mark Mushiva is a multidisciplinary

While it is no surprise that these concepts

creative technologist whose work exists at the intersection

industrial revolution” and “Internet of Things”. have garnered such fervent optimism, it

of computer science and

is easy to lose sight of what these new

Afrofuturism. One third of the

developments mean outside the usual

award-winning Hip Hop poetry

Western context.

group Black Vulcanite, Mark’s work incorporates novel technologies to enhance the performative aspects

The 4th industrial revolution is a concept that carries global

of black entertainers. Outside

crosscutting implications. These are said to be the result

of his artistic exploits, Mark is

of a convergence between information technology and

a game design scholar with the

human biology. To truly appreciate the shift in the role of

European Institute of Innovation

technology, it is necessary to situate our understanding of it

and Technology (EIT) where he

into different epochs, a kind of generational wisdom.

contributes to multiple computer science related projects in both Namibia and Europe.

In the 1970s, the computer was little more than a hammer.

Computers were large calculators used to complete work tasks (computations) and you would have been hardpressed to find a computer in anyone’s house, let alone office. In the early 90s, general-purpose computers finally found their way into our homes as semiconductors and electronics got cheaper and smaller. Even during this time, the computer was seen as a special apparatus reserved for homework and accounting tasks for the family business.

Fast forward to 2019 and most of us are walking around with computers (mobile phones) that are over 10 times more powerful than the computers that sent the Apollo 11 space shuttle to the moon.

mark 16

Creative Industry Guide Namibia 2019/2020

k

Computers went from the office, to our living rooms, and will

These instances have mainly been formalized in seeing

eventually end up in and on our bodies.

and recognizing objects (computer vision), reading and understanding (natural language processing), sensing and

Wearables, biotechnology, sensors, and telecommunication

moving (robotics), and adaptive learning (machine learning).

are all reaching such an advanced level that they will

Due to the convergence of these areas, technology has

pervade every facet of our lives. Technology is no longer

either completely replaced or augmented human labor.

just a tool; it has evolved into a cultural force with its own aesthetic and language. These properties have made it an

For instance, new farming technologies capable of

extension of our being, and ultimately an ideal platform for

irrigation, planting and harvesting at a massive scale have

creative expression.

replaced the agricultural workforce, sometimes relying only on a single person to input instructions. In other areas,

Augmented reality, virtual reality, sensors, cryptocurrency,

new technologies have augmented human work, this is

and robotics are some of the biggest technological

especially true in health where machine learning is being

phenomena around. These technologies carry serious

used to accurately diagnose a range of diseases.

implications for banking, health, leisure, and most importantly, work. It is useful to remember that in the

With burgeoning automation, human work is being pushed to

early 80s socialist visions of many developed countries,

the periphery, forcing us to contemplate a new definition of

technology was envisioned as a way to liberate humans

work. Experts have cautioned that because of the intricacies

from doing physically exhausting and repetitive work. With

around creative thought, it is likely that only creative work

the majority of menial tasks automated, people would

will be able to hold off automation, at least in the near

finally be free to pursue the limits of human freedoms

future. This is largely due to the fact that the human brain

and creativity.

is a black box, while we can see what it produces, little is known about how it works and this is the reason machine

While parts of this vision have been realised, the liberation

substitutes still struggle with simple tasks like navigating

of human freedoms and creativity has only partially come

through a room, a task even dogs have mastered.

to bear. The success of creative exploits such as Instagram, Uber, Snap Chat, and PUBG have demonstrated IT’s ability to

In order to prevent potentially catastrophic losses in

generate tremendous economic value, yet technology is still

technological unemployment, educational stakeholders

taught from a predominantly instrumentalist position.

are being urged to invest in creative thinking. This is further supported by a growing shift from centralized to

In our schools, learners are taught that computers are meant

decentralized systems. Opensource electronics and online

to make work fast and accurate in the same idealisms of the

education are areas that are pushing human creativity to

70s. This approach undermines the maturity of technology

the extremes. With a basic understanding of electronics and

as a creative enabler, misaligning education with potentially

programming, an eighth grader can reliably reproduce a

new value streams and ultimately making us vulnerable to

functional prosthetic arm.

the negative effects of automation.

This is the extent to which technology and learning has been Human jobs, even those previously seen as complex, can be

democratized thanks to the internet. The democratization of

broken down and modelled to be performed by machines

technology and education upend arguments that we need

via artificial intelligence. Artificial intelligence is a branch

new technologies, rather it is what can be done with existing

of computer science that seeks to implement sensory,

technology that will characterize new social and economic

cognitive and perceptual functions of the human being.

growth.

Creative Industry Guide Namibia 2019/2020

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The current composition of the Namibian economy should be

convenient than ever. This will influence ideas around the

a cause for worry, the majority of Namibians are employed

mobility of human creativity as crowd work and remote

in service jobs like meat packing, which will soon be

work become more commonplace. Even today, it is not

automated. This will leave a vacuum of unemployed labour.

uncommon to hear of a social media manager or web

With creative jobs being harder to automate, investing in life-

developer whose clients live in Berlin while the creative

long learning and creative skills will ensure that people will

resides in Windhoek. We are likely to see the creation of new

be able to adapt and increase the value of human work over

jobs, evidenced by jobs like social media manager, a job that

a life course.

did not exist 20 years ago.

Policy makers should engender the further democratization

In the wake of this new technological optimism, it is

of education and technology by supporting bottom-up

necessary to be wary of prescriptive policies. Just because

education schemes and open learning. Decentralizing

a technology works well in India, we should not be quick

education supports invention by putting the tools and

to implement top-down resource heavy investments for

concepts to innovate in more people’s hands. Current trends

challenges involving marginalized users. This calls for a

in disruption show that health, banking, and education are

more reflective approach to research and development that

all moving towards decentralized models.

generates knowledge about the nuances of how culture and technology interact.

Particularly for countries where access to high quality education is challenging, policy makers should drive the

It is important to keep in mind that while experts are able to

transition to more mixed methods of learning, guided

theorize solutions, it is usually the people who have vested

learning supported by e-learning. Namibia must embolden

interests in problems that are likely to develop, support, and

inventor culture; this means building and staffing maker

influence the adoption of appropriate solutions. We should

spaces with people who are able to train and increase the

also promote a different understanding of risk.

societal awareness of opensource electronics. This will allow citizens to come up with their own solutions to social

Currently conservative investments behavior of financial

and economic problems.

entities is creating an overreliance on older markets such as real estate and construction. While these markets

Education can also likely benefit from promoting creative

are reliable to an extent, they provide very little growth in

technologist roles by training people to use creativity and

expanding revenue streams since they do not scale well.

technology to solve complex problems. It is no longer useful

Buildings occupy physical space; they also cause additional

to compartmentalize computer science education, or to

maintenance and legal and administrative overheads.

exclusively talk of the “information technology industry�. In a sense all businesses are IT businesses in the same way

IT-driven

that all businesses are literacy businesses because they

comparison, many of the large business today who offer

employ some version of reading and writing. Granted that

software as a service or enable on-demand services like

Africa is one of the biggest cultural institution in the world,

Uber started as small companies. When financial risks are

we can conclude that it can be a hotbed for new creative

spread across many small potentially high-value startups,

technologies.

the gains can support a national economy to a point where

businesses

scale

more

logarithmically

in

companies support entire nations.

The possibilities to create new businesses and value streams

18

are boundless. We are likely to see a merger between social

Technology is driving social, political, and economic shifts,

networks and financial technology, making the arduous

and leveraging these will depend on rapid experimentations.

processes of buying and selling more streamlined and

We must dare to experiment.

Creative Industry Guide Namibia 2019/2020

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An online survey was conducted to collect information from industry during the research phase of the Creative Industry Guide.

EIGHT 800

HERE ARE SOME KEY FINDINGS:

Number OF TOTAL SURVEY RESPONDENTS

31 | 25% Architecture

172 | 0.5% Craft Design: Product & Graphic

84 | 6.17% Film, TV, Radio & Photography

97 | 7.07% Information Communication & Technology

34 | 0% Publishing

52 | 6.67% Archives, Galleries, Libraries & Museums

44 | 0% Music, Performing & Visual Arts

128 | 2.89% Creative Institutions, Services & Resources

69 | 7.35%

RESPONDANYT

89 | 2.20%

RESPONDENT PRESENTATION BY REGION

RESPONDANYT

INCREASE IN RESPONDENT PRESENTATION BY SECTOR

Advertising & Marketing

Khomas

494 | 72.54% Erongo

77 | 11.31% Otjozondjupa

12 | 1.76% Oshana

23 | 3.38% !Karas

8 | 1.17% Oshikoto

10 | 1.47% Zambezi

2 | 0.29% Kavango East/West

9 | 1.32% Kunene

3 | 0.44% Omaheke

16 | 2.35% Omusati

6 | 0.88% Ohangwena

9 | 1.32%

Creative Industry Guide Namibia 2019/2020

21

SECTOR

1

Advertising & Marketing Creative Industry Guide Namibia 2019/2020

23

24

Creative Industry Guide Namibia 2019/2020

The Power of Creativity to Put Namibia on the Map In 2018, something happened in my life which had a ripple effect in Namibia. I was seated in Carnegie Hall, on Broadway in New York with Windhoek-based photographer, Shawn van Eeden. Around us were some of the most renowned photographers in the world, as well as curators and gallery owners.

We were attending the Lucie Awards, an event honouring achievement in photography and judged by the Head Curator of the Metropolitan Museum of Art and the Head of International Photography at Christies, amongst others. We had been invited to attend because an

Toufic Beyhum Toufic Beyhum was born in troubled Beirut in 1974, but moved to London at a young age when his family was forced into exile by the relentless war.

Toufic has been creating and experimenting in the world of advertising for over 20 years.

He has worked at Leo Burnett, BBDO and McCann in New York, Dubai, Berlin and London. A restless soul who always tries to push himself creatively,

advertising campaign we had done for Greenpeace was

Toufic has also mentored at

on the shortlist.

the School of Communication Arts, shot a documentary on

To be honest, we were completely overwhelmed by the

the Bedouin of Petra, published

experience and were just happy to be invited. So, when

a book of photography, and

they announced our names as Gold winners, needless to

run a gallery in Berlin.

say we were shocked.

He has exhibited his work in London, Berlin, LA and New York.

To be 12,000 kms away from Windhoek, picking up Gold in Carnegie Hall for a low-cost poster campaign created by our small agency – Advantage Advertising – featuring African masks made by Petrus Shiimi and Saima Iita - 2 young Namibian artists - and shot by a Namibian photographer was, frankly, mind-blowing.

His series “Burqa”has been acquired by LACMA & The Frances Lehman Loeb Art Center for their permanent private collection.

Afterwards, we interacted with many of the other guests - photography’s great and good - many of whom had to Google Namibia to find out where we were from.

Creative Industry Guide Namibia 2019/2020

25

That night, creativity put Namibia on the map.

This photo series has spread around the world, being published in South Africa, Europe, the US and even

Think of how certain cities are known for their creative

Lebanon (where I am originally from).

recently attended one in a place called Arles in France.

What this proves to me is that there’s a hunger for

Never heard of Arles? I don’t blame you, I had to Google

Namibian stories, ideas and images. I’m sure this

it too. And yet, the Fair draws so many visitors, hotels are

hunger exists for Namibian music, theatre, art,

sold out six months before the event.

poetry, arts and crafts too.

And why do all these people come to this small, obscure

It proves to me how important creativity can be

town, spending their Euros and boosting its economy?

for a country. Namibia is known for its deserts, its

Creativity.

diamonds, its landscapes, so let’s add creativity to the list. Why not? These days the world is quite

I would love to see an Art Windhoek, or an internationally-

literally at our fingertips. In the 3 and a half years

recognised Swakopmund Photo Festival, helping to boost

I’ve lived here, I’ve met so many creative people who

our own economy and creative cache. South Africa has

have the potential to go global and put themselves

events such as these, as does Nigeria, Morocco, Kenya

on the map

and Ethiopia.

If you’re one of these people, now is your chance.

We need to push creativity in all its forms to put Namibia

Grab it.

on the map. In Advertising, our agency, Advantage, is trying hard. We’re currently ranked 10th in regional Agencies (excl. South Africa) by the Loeries Association.

I recently showed some of our advertising campaigns at the School of Communication Arts in London – the world’s most-awarded advertising school where I used to mentor.

It’s a place that only attracts the best. The students loved the work and some are now considering making their way to Namibia to explore their creativity in a new and exciting setting. By spreading word of what Namibia can do, we can attract new talent and thereby improve the quality of the country’s creative output. This should be incentivised by relevant structures, while consistently building on and improving local capacity.

Outside of my job, I’m a photographer. For my subjects, I look at the Namibian world directly around me. For my latest project, Amoji, I asked local artists to create African masks based on popular emojis which were then modelled by people I would find on my travels.

26

Creative Industry Guide Namibia 2019/2020

Internationally Namibia is able to play a bigger role in media and break through the barriers from the past.

itoufic

fairs or exhibitions: Art Basel, Art Dubai, Paris Photo. I

Creative Industry Guide Namibia 2019/2020

27

LISTINGS

31 ADVERTISING AGENCIES 33 MARKETING AGENCIES 34 OUTDOOR ADVERTISING 34 EVENT PLANNING 34 MULTIMEDIA

30

Creative Industry Guide Namibia 2019/2020

ADVERTISING AGENCY

BMS Global Hub

Adforce Namibia

 +264 81 661 6380

Full-service advertising agency.

 +264 61 237 200  info@adforce.com.na  142 Jan Jonker Road Aussplannplatz Windhoek, Namibia  www.adforce.com.na

Advantage Y&R

Full-service advertising agency. Our motivation is to allow our imagination and thinking to go where it needs to go, to create work that really works.

 +264 61 250 277  info@advantage.com.na  No 1, Axaku Doeseb Street Windhoek, West Windhoek, Namibia  www.advantage.com.na  Advantage Advertising  @AdvantageNam  @advantagemrktg  Advantage Advertising Namibia

Amushe Incorporated  +264 85 147 4651

Creative lab.

Contact Person: Shikulo Pinehas

 zuluboyamadazfloor@gmail.com  40 Schonlein Street Windhoek West Windhoek, Namibia

 AmusheInvestments

Blak Advertising

We pride ourselves in excellent service delivery, creative and concept related campaigns, market research and strategy, copywriting, social media management as well as activations and events.

Contact Person: Amali Maritz  amali@blakadvertising.com mathias@blakadvertising.com  Tinbergen Village, Unit 5, Windhoek, Namibia  www.blakadvertising.com  Blak Advertising

Signworld Swakopmund

 Bms Global Hub

Effective Media Group

Contact Person: Cornelius van Wyk

Graphics, advertising, branding, outdoor advertising, email marketing, promotional material.

Contact Person: Frans Domingues

 +264 61 402 520  info@effective-mediagroup.com  ERF 40, Schonlein street, Windhoek West Windhoek, Namibia  www.effective-mediagroup.com  Effective Media Group

Juxtapose design studio

Juxtapose Design offers the great 3D Creative Design, Production, Copywriting, Web Design & Development, Digital and Multimedia Production, Broadcast and Print Media, Media Planning & Scheduling, Social Media Integration, Public Relations, Brand Activation, Event Management, Promotional Materials and Corporate Wear & Gifts.

 +264 61 307 525  juxtaposedesign@iway.na

 Prosperita Calcium Street no. 4 Windhoek, Namibia

 ogilvynamibia  @OgilvyNamibia  @ogilvynamibia  ogilvynamibia

Signage, design and brand experts working together to create the best and most affordable signage and print solutions at the coast.

+264 81 314 0486

 amusheinc@gmail.com

 c/o Valley Road & General Murtala Muhammed Ave, Eros Windhoek, Namibia

 +264 64 403 938  signworld@iway.na  Unit 10, Einstein Street Swakopmund Industrial Swakopmund, Namibia  www.signworld-swakop.com

Snowball studio

Design, branding, advertising, media and photography.

Contact Person: Stefan Redecker

 +264 81 221 7799

+264 81 223 4431

 stefan@snowballstudio.com hello@snowballstudio.com  1 Sinclair Park, 6 Sinclair Street Klein Windhoek Windhoek, Namibia  www.snowballstudio.com  Snowballstudio

Weathermen & Co

 www.juxtapose-designs.net

Full-service advertising agency.

Leo Burnett Namibia

Contact Person: Nadja Dobberstein

Full Advertising Agency.

Contact Person: Femi Kayode

 +264 81 129 3643

 +264 61 429 600  work@weathermen.co nadja@weathermen.co

 femi@adforce.com.na reliance@leoburnett.com.na

 7 Hugo Hahn Street Klein Windhoek Windhoek, Namibia

 Shanzen Street, No. 41 Windhoek, Namibia

 www.weathermen.co

 www.adforce.com.na

 WeathermenCo  @WeathermenCo

Ogilvy Namibia Contact Person: Nina Paulino

 +264 61 247 371/2/3  info@ogilvy.com.na shanine.paulino@ogilvy.com.na

Young Designers Advertising Namibia

Advertising Company: Vibrant, Innovative, Daring, Passionate, Creative, Adventurous, Ambitious.

Contact Person: Anna Johannes

Creative Industry Guide Namibia 2019/2020

31

 +264 61 244 458

+264 61 305 417

 info@yda.com.na 

 www.intouch.com.na  Intouch Designs

Lexior Building C/o Joule St. & Parsons Road Southern Industrial Windhoek, Namibia

 www.yda.com.na  YDANam

MARKETING AGENCY African Image Designs and Events

Provision of marketing, communication, event planning, media relations and reputation management.

 +264 61 256 717  14 Eadie Street Klein Windhoek Windhoek, Namibia

Alvaro Media Group

Creative Brand Agency which focuses on Brand, PR Management and TV Production.

Contact Person: Kalistu R Mukoroli

 +264 81 487 1442  info@alvaromedia.com  13 Alpheus Akuenje Str, Kleine Kuppe, Windhoek Windhoek, Namibia  www.alvaromedia.com  alvaromediagroup  @alvaromediaG  @Alvaro Media group

Full Stop Media

Public relations, Branding & Content Development.

Contact Person: Andrea Van Rhyn

 +264 81 635 9254  andreavanrhyn@gmail.com

inTouch Interactive Marketing

Cornerstone Counsultants (Pty) Ltd

Cornerstone, a company established in 2013, offers management consultancy services, especially in the areas of brand, marketing and communication strategy development, to businesses that want to be global leaders in their respective industries.

Contact Person: Margareth Gustavo

 +264 61 246 110  info@cornerstone.com.na  Unit 30, The Village Liliencron Street Eros Windhoek, Namibia  www.cornerstone.com.na  Cornerstone-Joe-Public-Pty-Ltd

Justhink marketing and branding

Marketing and brand management.

Contact Person: Michael Kahorongo

 +264 81 392 8132  michaelpulse@gmail.com  146 Gren Street Windhoek, Namibia  justhinkint

Inverted Media

We provide high customer satisfaction by rendering quality marketing, advertising services and graphic design.

Contact Person: Valide Hidinua Hamupunda

 +264 81 438 5148  sai.valide32@gmail.com

Matthew Gowaseb & Associates Inc Marketing & Advertising.

Marketing company focusing on utilising all sorts of technology to help our customers reach their customers.

Contact Person: Matthew Gowaseb

Contact Person: Derick Briers

 Maerua Park, South Block, 3rd Floor, Centaurus Rd, Windhoek, Namibia

 +264 81 811 2124  derick@intouch.com.na  11b Murtala Muhammed Ave Windhoek, Namibia

 matthew@mga.com.na

TinCup Digital | Marketing Agency

TinCup delivers integrated digital and marketing services to our clients, clients who have had to be content with existing above-the-line strategies dictating the direction of integrated campaigns. With vast experience in the Namibian digital, marketing and advertising landscape, we offer clients a holistic view of their brands in real life, from the first point of contact through to campaign conceptualisation, development, integration and alignment with existing strategies. With brand strategists, creatives, developers, thinkers, visual masterminds and digital messiahs, we use all mediums of communication to give voice to your brand, sometimes screaming, sometimes becoming an integral part of an online community, sometimes static; each idea crafted to maximise socially-aware interaction with consumers and clients.

Contact Person: Cobus Theyse

 +264 81 206 5993  info@tincup.com.na  CoWork Offices Old TransNamib Train Yards Windhoek, Namibia  www.tincup.com.na  tincupmarketing  tincup-digital-marketing-agency

 www.mga.com.na  matthewgowasebassociates

Creative Industry Guide Namibia 2019/2020

33

Mindscape Events cc

Yippee! Digital Agency

Contact Person: Gordon Jay

 +264 61 237 300

 +264 81 314 5392

 info@adforce.com.na digital@adforce.com.na

Communication, Marketing, Advertising, Events Management.

 mindscapeeventscc@gmail.com  18 Independence Avenue Paradigm Building, First Floor, Unit 5 Windhoek, Namibia  www.mindscape.com.na  Mindscape Events

Nica Creative

Advertising, Marketing & Digital Marketing.

 +264 81 786 7088  info@nicacreativ.com  Klein Windhoek, Windhoek, Namibia  www.nicacreativ.com  nicacreative  @nicacreative

Njami creative

Digital marketing, UI & UX design, graphic design.

Contact Person: Marcelle Eloff

 +264 81 422 8204  njamicreative@gmail.com marcelleeloff@gmail.com  The Hamlet on Avis, Michaela Street, Klein Windhoek, Windhoek, Namibia  njamicreative  @njamicreative

TwentyEleven Communications

Marketing, PR & Corporate Communications.

Contact Person: Francois van der Merwe

Digital strategy, content development and integrated marketing.

 142 Jan Jonker Road Windhoek, Namibia  www.adforce.com.na/yippee

 +264 61 245 905  info@alliancemedia.com

Contact Person: Frans van Wyk

 22B Gold Street, Prosperita Windhoek, Namibia

 +264 81 127 3661

OUTDOOR ADVERTISING Alliance media

 www.alliancemedia.com  beseenalloverafrica  @AllianceMediaSA

Eshisha Out Of Home Media

 c/o Armstrong St & Nobel St Southern Industrial Area Old Powerstation complex Windhoek, Namibia  www.tamonika.com

Contact Person: Beverly Jandrell_Uren

 eventsfrans  @tamonikaevents

 +264 61 431 0500  Unit 8, Maxwell Road, Maxwell Park Windhoek, Namibia  www.eshisha.com  Out of home media Namibia

MULITIMEDIA Jekonia Studios

 francois@twentyelevencc.com francois.nam@gmail.com  48 Strand Street, Swakopmund, Namibia

Contact Person: Lukas Jekonia

 jekoniastudios.nam@gmail.com  Nomtsoub, Tsumeb, Namibia  jekoniastudios

Creative Industry Guide Namibia 2019/2020

 frans@tamonika.com

Outdoor advertising.

 +264 81 249 0419

34

Tamonika Events

We plan, you party. By taking the hassle out of event planning, we create inspirint atmosphere and ambiances, maintaining our clients’ goals, and achieving productivity and streamlining the process. Using our preferred service providers to such an extend that they become part of our workforce and enable us to reach our common goal - refreshing and well organised events, run professionally and artistically executed.

Jekonia Studios is a multimedia company that renders various services ranging from Graphic Design, Photography, Videography and Printing. In addition we conduct event planning and consult clients on business advertising and marketing options.

 +264 85 122 9177

EVENT PLANNING

Not listed? Visit our website and get listed online www.creativeindustryguide.com

SECTOR

2

Architecture Creative Industry Guide Namibia 2019/2020

37

Lena Niedermeier A young Architect in Training working in Windhoek since 2018 after completing her Bachelor in Architecture at Nelson Mandela University in Port Elizabeth and shortly after that her Honors and Masters in Architecture at the University of the Free State in Bloemfontein. “ I see the potential Namibia holds for us in so many aspects but especially within the urban and architectural context.

I am constantly inspired by the

Finding Namibian character in place-specific architecture & its role within the Creative Industry

Namibian natural and cultural landscape, and always challenged

Architecture is bound to situation. Unlike

in developing creative yet practical

music, painting, sculpture, film and literature,

and sustainable ways of making and creating that are in harmony with this remarkable environment.”

a construction (which is non-mobile) is intertwined with the experience of place.’

– Steven Holl.

Architecture within the creative industry is considered by most as a double-edged sword. Some would argue that architecture is firmly positioned as a contributor within the creative industry as it deals with aspects of design, culture and art. On the flipside however, mainly in the opinion of architects, many would argue that architecture should not fall under this umbrella, as it is rooted to its setting.

Reginald Grobler Reginald Grobler is an Architect in Training (AIT) working in Windhoek, Namibia.

38

Creative Industry Guide Namibia 2019/2020

lena

Merit can be given to both perspectives on this topic though.

Many buildings in Namibia could be placed elsewhere in the

What makes architecture different to other forms of art

world and would work, aesthetically, perfectly fine within

is that it is interconnected to the nature of place through

that context. So the question is, how can a return to place

a palimpsest or layered agenda that interrelates with

specific and sustainable architecture, which is inspired and

its surroundings in terms of scale, orientation, form and

crafted by local materials and vernacular modes of making,

materials, socio-economic and cultural factors, which may

be reintroduced into the built environment?

pay homage to the heritage or memory of the context itself.

Answering this question could possibly leave behind In correspondence to the above and similar to art,

buildings richer in character with tactile spatial experiences

architecture also reinterprets and conceptualises its

that create stimulating environments, which interpret and

setting as a reflection of the surrounding cultural context

reflect onto the unique essence of place within our cities and

through its physical appearance. We refer to this as the

the natural landscape of Namibia.

‘character’ of a building. And therefore, we can say that our engagement with a building’s character on a metaphysical

What primarily needs to be understood when approaching

level can evoke phenomenological experiences for the user

this question is that architecture comprises of an

occupying its space.

interconnected series of layers, namely: the physical layer, the socio- economic layer and the cultural layer. Together,

Through the ideologies and movements of Modernism, and

they set up the foundation to any design.

specifically that of the “International Style,” architecture has in many instances adopted the approach of idealist

Each layer can be discussed in great depth but we’ll raise a

and commercial practices. The technological development

couple of key questions that aim to challenge the response

of steel and concrete, as a way of making, has led many

of an architectural intervention that tackles the issues that

designers to streamline the use of these primary materials

come with the various layers.

that produce buildings which are sleek; clean and ‘pure.’

1. The physical layer Standard, modular, regular and universal are all common

•

Does the intervention accommodate the natural climate

terms and generators to quick, efficient and cost-effective

and employ passive sustainable design techniques in

ways of erecting a building. The repercussion of this is that

order to reduce its carbon footprint?

there is little, or no emphasis placed in a ‘crafted building’

•

How does the intervention respond to the existing

which is sensitive to its context. The tactile essence of place

fabric and framework by which it is surrounded? Does

and the materials that are used are no longer vernacular

it enhance pedestrian movement and accessibility?

but universal.

•

How does a building respond to its surrounding urban or natural context in its use of materials?

Thus, we find ourselves in a time where craftsmanship, as

•

Materials are the real generators to the character of

a way of making, is no longer at the forefront. We too often

a building. The Twyfelfontein Visitors’ Centre by Nina

see buildings that are no longer ‘place specific,’ but rather

Maritz Architects (Image 1 a & b), showcases a high

‘universal boxes’ which can be found on every corner of

regard in the choice of materials, colours and textures

the globe.

that compliments the local setting through its character.

Creative Industry Guide Namibia 2019/2020

39

2. The socio-economic layer •

Does the design acknowledge the availability of local resources and labour, where there is a possibly to incorporate local firms and technologies as a way of making? By incorporating a design approach that aims

Twyfelfontein Centre, Twyfelfontein, Nina Maritz Architects

to use local firms and local materials, not only does one aid the economy infrastructure of a place through architecture, but you inspire new ways of making, by reinterpreting local craftsmanship and vernacular building techniques as a driving force.

•

How does the building aim to possibly benefit or enhance

•

Image 2

the socio-economic condition of its context by extending onto existing surrounding social and cultural networks?

Nakayale Private Academy, Ruacana, Wes Architects –

•

How does the intervention exploit the creative use of vernacular materials, textures, patterns and colours

3. The cultural layer.

that respond to, or can be derived from, the surrounding

•

cultural context of a place?

How does the intervention engage with its surrounding cultural context and respond to it in a sustainable manner? Not only is it important in how a building

In a similar approach as that of Earth World Architects in

functions on a physical level in terms of its carbon

South Africa, we argue for an architecture that is grounded

footprint and energy, but also in how it aids the

in place, which fosters relationships between the user

existing cultural fabric of a place in a sustainable

and their direct and broader environments and ultimately

and meaningfully engagement with the structures

engages with the user on a phenomenological level through

of society (Valley: 2019). This can be seen in the

an engagement of the senses.

Nakayale Private Academy (Image 2) in Ruacana by Wes Architects.

The questions above can be used as tools to guide such a place specific and sustainable design methodology. The task is to not only meet these as challenges, but to also be invigorated and inspired by them. Although there are many ways to skin a cat, when approaching the design of a project, an architecture rich in character and strong in its identity can potentially be achieved when focus is placed on the interaction of every single layer within a built intervention.

We simply want to raise awareness, not only to the participants within the building industry, but also to developers and the everyday user of the city, that ultimately architecture is deeply rooted to place on a much bigger scale than merely providing form to a function.

Twyfelfontein Centre, Twyfelfontein, Nina Maritz Architects

40

Creative Industry Guide Namibia 2019/2020

Nakayale Private Academy, Ruacana, Wes Architects

“Ultimately every building has the objective to create long-

The sense of an architecture which is ‘rooted’ within its

term physical, monetary and cultural value” (Kotze: 2019).

setting, will undoubtably contribute in the meaningful

Through the inventive partaking within a place specific

creation of space inspired by the unique essence of its

and sustainable design approach, a building has the

surrounding. This approach could possibly create exciting

potential to become a catalyst in adding value to the entire

places for people to inhabit rich in character and identity.

exiting network by which it is surrounded and thus further enriches our cities as well as rural landscapes. This could

Let’s meet the amazing potential to work as creatives within

contribute to the benefit of all parties involved both socially

both the building and the creative industry and constantly

and economically.

intervene, invent, rethink and question how a person´s daily experience can be uplifted through the creation of a

It is imperative not only for the architect, but for every

stimulating built environment.

single participant within the building and creative industry to become critically aware and continuously question

Realising this role, we have to further inspire, motivate and

how an intended building successfully acknowledges and

challenge other platforms within both the built and the

responds to the issues it encounters through these various

creative industry in order to initiate a new consciousness

layers. This interactive design approach could be exploited

to locally inspired architecture which is rich in character

more within the context of Namibian architecture, setting

within Namibia.

it apart from westernised principles of standardization and allow itself to be rooted within its African context.

“Locally inspired architecture can assist in the shaping of a future characterized by accessible cities, vibrant marketplaces and less corporate dependency” (Stretton: 2019).

Creative Industry Guide Namibia 2019/2020

41

LISTINGS

43 CORPORATE ARCHITECTS 46 PRACTICES 51 ANIMATION

FOR ARCHITECTURE

42

Creative Industry Guide Namibia 2019/2020

CORPORATE ARCHITECTS Adolf Jacobus Botes  abatsu@mweb.com.na  Tsumeb, Namibia

Agostinho Enrico Ferreira  +264 61 227 306  afarch@iway.na  Windhoek, Namibia

Ahmed Simwaya  +264 61 220 654  gamalrifaiarchitects@gmail.com  Windhoek, Namibia

Alec Farai Chitsungo  +264 61 235 026  chitsungoalec@gmail.com  Windhoek, Namibia

Allan Ochino Ogonje  +264 61 208 8706  aogonje@mwtc.gov.na  Windhoek, Namibia

Andrew Centilivres Chase  +264 61 235 026  andy@stauch.com.na  Windhoek, Namibia

Anna Magdalena Muller  +264 61 239 398  nhag@iway.na  Windhoek, Namibia

Axel Dainat  +264 61 237 860  axel@adarchitects.com.na  Windhoek, Namibia

Britt Klews Architect Contact Person: Britt Klews-Stauch

 bstauch@iway.na

Coenraad Hendrik Van Graan

 Shop 6b, The Atrium 4 Hendrik Witbooi Street Swakopmund, Namibia

 +264 61 227 146  coen@mweb.com.na

Carlo Fritz Sprengel

 Windhoek, Namibia

 +264 61 230 954

Conrad Lionel Scheffer

 carspr@mweb.com.na

 +264 61 203 125

 Windhoek, Namibia

 phil-mari@bobmouldscheffer.com

Cedric Gerald Powell

 Walvis Bay, Namibia

 +264 61 402 426

Curt Henry Ronald Barnard

+264 61 402 563

 archdev@iway.na  Swakopmund, Namibia

Charl Andre Pretorius  +264 61 222 612  charl@dpanamibia.com  Windhoek, Namibia

Christel Wasserfall  +264 61 221 229  christel@wasserfallmunting.com  Windhoek, Namibia

Christelle Elizabeth Smit  +264 61 303 633  c.smit@liarch.com.na  Windhoek, Namibia

Christo Lourens Potgieter  +264 61 387 400  christo@ai.com.na  Windhoek, Namibia

Christopher Daniel De Jager  +264 61 240 405  cdjarch@iway.na  Windhoek, Namibia

Claud Le Mans Bosch  +264 61 237 160  cba@boscharchitects-1.com  Windhoek, Namibia

 +264 61 568 936  rbarnard@iway.na  Gobabis, Namibia

Danette Leonie Bruns  +264 61 207 688  tech1@kbdarchitects.com  Walvis Bay, Namibia

Daniel Johannes Joubert  +264 81 692 0962  danie@blocdesignstudio.com  Windhoek, Namibia

Dawid Frederick Van Der Merwe  +264 61 253 669  dawid@boscharchitects-1.com  Windhoek, Namibia

Deirdre De Waal  +264 61 239 659  deidre@ddwa.na  Windhoek, Namibia

Delisa Bukhosi Ndhlovu  +264 61 307 392  delisa.ndhlovu@iconarch.com.na  Windhoek, Namibia

Deon Pretorius  +264 61 222 612  admin@mpwnamibia.com  Windhoek, Namibia

 +264 81 289 5377

Creative Industry Guide Namibia 2019/2020

43

Dewald Du Plessis

 Windhoek, Namibia

 Windhoek, Namibia

 +264 61 253 669

Geline Loubser

Jan Lodewyk Spruyt

 dewald@boscharchitects-1.com

 +264 61 237 162

 +264 61 258 774

 Windhoek, Namibia

 geline@pla.com.na

 jan@jsarchitects.com.na

Diederik Christoffel Jankowitz

 Windhoek, Namibia

 Windhoek, Namibia

 +264 61 500 701

Gloria Gachiku Kamau

Jean-Pierre Rossouw

 denj@mweb.com.na

 +264 61 251 975

 +264 61 236 615

 Henties Bay, Namibia

 gkamau@iway.na

 jean@rma.com.na

Dylan Douglas Saunders

 Windhoek, Namibia

 Windhoek, Namibia

 dylan@dsa.com.na

Heinrich Hans Wilhelm Dillmann

Jeremia Brynard Kotze

 Windhoek, Namibia

 +264 61 224 561

 +264 61 207 688

Eckhard Siedentopf

 heinerd@iway.na

 info@kbdarchitects.com

 +264 61 259 721

 Windhoek, Namibia

 Walvis Bay, Namibia

 esad@mweb.com.na

Henry Ferdinand Mudge

Johann Van Niekerk

 +264 61 236 615

 +264 61 215 169

 Windhoek, Namibia

Endri Steenkamp (Wilken)  +264 81 480 7323  endri@wessdesign.com  Windhoek, Namibia

Erhard Walther Roxin  +264 61 402 858  eroxin@iway.na  Swakopmund, Namibia

Erich Wilhelm Roeber  +264 61 308 424  erich@eranamibia.com  Windhoek, Namibia

Francis Ngula Mutua  +264 61 240 405  francis@barnardmutua.com  Windhoek, Namibia

Frenus Rorich  +264 61 402 713  frenus@frenus-rorich.com  Swakopmund, Namibia

Gabriel Marin Castro  gabriel.marin.castro@gmail.com

44

Creative Industry Guide Namibia 2019/2020

+264 61 236 616

 reception@rma.com.na  Windhoek, Namibia

Hugo Scheepers  +264 61 221 725  hugo@hugosarc.com  Windhoek, Namibia

Izaan Rykie Joubert (Pauw)  +264 61 220 604  izaan@blocdesignstudio.com  Windhoek, Namibia

Jack Allan M Mutua  +264 61 302 323  tectura@iway.na  Windhoek, Namibia

Jacob Wasserfall  +264 61 230 271  jaco@wasserfallmunting.com  Windhoek, Namibia

Jacques Johann Swart  +264 61 257 254  jswart@africaonline.com.na

 niekerk@iafrica.com.na  Windhoek, Namibia

Johannes Cornelius Lotter  +264 61 207 654  cobus@clarchitects.net  Walvis Bay, Namibia

John Masanzu  +264 81 398 6751  jmasanzu@gmail.com  Windhoek, Namibia

Julie-Anne Clarke  +264 61 401 428  julie@clarke-architects.com  Windhoek, Namibia

Kamilla El Kes Michall Yakoop  +264 61 220 041  kyakoop@hotmail.com  Oshakati, Namibia

Karen Belinda Schuster Miller  +264 61 407 121  karenmil@iway.na  Swakopmund, Namibia

Karen Munting

Leon David Barnard

 mm@iway.na

 +264 61 243 092

 +264 61 240 405

 Windhoek, Namibia

 karen@mrarchitects.com.na

 leon@barnardmutua.com

Memory Brunhilde Burger

 Windhoek, Namibia

 Windhoek, Namibia

 +264 61 304 201

Karsten Rohlf

Linus Malherbe

 gerritgba@iway.na

 +264 61 235 556

 +264 85 555 0255

 Windhoek, Namibia

 k.rohlf@kr-architecture.com

 linus.malherbe@gmail.com

Michielse Matthys Coetzee

 Windhoek, Namibia

 Windhoek, Namibia

 +264 61 405 805

Kelvin Kanyanta

Manda Bakkes

 Michielt@iafrica.com.na

 +264 61 264 815

 +264 61 302 810

 Swakopmund, Namibia

 kkarch@iway.na

 manda@mbanam.com

Mwamba Justin Mwanakatwe

 Windhoek, Namibia

 Windhoek, Namibia

 +264 61 227 613

Kevan Ruari Mcnamara

Marco Wilhelm Scriba

 Jamwa2002@yahoo.com

 +264 61 235 065

 +264 61 240 405

 Windhoek, Namibia

 kevan@kma.com.na

 marco@barnardmutua.com

Mwiitumwa John Mungandi

 Windhoek, Namibia

 Windhoek, Namibia

 +264 61 208 8719

Khodjasteh Afshani

Maria-Koko Henrietta Oyula

 mjmungandi@mwtc.gov.na

 +264 61 227 613

 apiyomk@gmail.com

 Windhoek, Namibia

 afshani@afol.com.na

 Windhoek, Namibia

Nadine Cohen

 Windhoek, Namibia

Mario Erastus Shilongo

 +264 61 404 830

Klaus Dietrich Brandt

 shilongomario@yahoo.com

 nadine@mlaarch.com

 +264 61 229 891

 Windhoek, Namibia

 Swakopmund, Namibia

 kbaa@iway.na

Mark Peter Rechholtz

Nekwaya Kayeritshimwe Abed Agapitus

 Windhoek, Namibia

 +264 61 308 658

Kudakwashe Bick’Ford Chigama

 mark@mrarchitects.com.na

 +264 61 227 314

 Windhoek, Namibia

 kbchigama@gmail.com

Marley Uazemburuka Tjitjo

 Windhoek, Namibia

 +264 61 220 604

Lanel Kotze (Wenhold)

 marley@mtarch-inc.com

 +264 61 237 162

 Windhoek, Namibia

 lanel@pla.com.na

Marthinus Hermanus Mans

 +264 81 129 0752

 Windhoek, Namibia

 +264 81 444 3492

 nina@ninamaritz.com

Lawrence Robert Lock (Pr. Van Tonder)

 marnus@lockmans.co  Windhoek, Namibia

 82 Dr. Kenneth David Kaunda Street Klein Windhoek Windhoek, Namibia

Mechthild Merdes

 www.ninamaritzarchitects.com

 +264 81 220 7067  lawrence@lockmans.co  Windhoek, Namibia

 +264 61 235 026  nekwaya@boscharchitects-1.com  Windhoek, Namibia

Nina Alexandra Architects

Inventive and versatile professionals doing unique and sustainable architecture, urban and landscape design projects of any type or size.

Contact Person: Nina Maritz

 +264 61 240 405

Creative Industry Guide Namibia 2019/2020

45

Patridge Bhunu Shava

Rowan Roscoe Mc Namara

Una Chriszelda Stuurmann

 +264 61 222 349

 +264 61 235 065

 +264 61 227 306

 pbhunu2000@yahoo.com

 rowan@kma.com.na

 una@usarchnam.com

 Windhoek, Namibia

 Windhoek, Namibia

 Windhoek, Namibia

Paul Lloyd Munting

Samuel Johannes Andries Christensen

PRACTICES

 +264 61 230 271

Afshani & Afshani Architects

 andre@aca.com.na

Contact Person: Soheil Afshani, Khodjy Afshani

 +264 61 230 271  paul@wasserfallmunting.com  Windhoek, Namibia

Phil-Mari Engelbrecht (Burger)  +264 61 203 125  phil-mari@bobmouldscheffer.com  Walvis Bay, Namibia

Pieter Jacobus Smith  +264 61 239 659  pierresmith@iway.na  Windhoek, Namibia

Pieter Johannes Mostert  +264 61 238 603  pieter@argitek.biz  Windhoek, Namibia

Ramy Mohamed Mahdy

 Windhoek, Namibia

 +264 61 227 613

Sanderine Elizabeth Bierman  +264 61 405 677  Swakopmund, Namibia

Soheil Afshani  +264 61 227 613  afshani@afol.com.na  Windhoek, Namibia

SPACESTUDIO Contact Person: Sophia van Greunen

 +264 81 300 3900  phia.spacestudio@gmail.com  Olof Palme Street 113C Windhoek, Namibia

+264 81 400 8300

 afshani@afol.com.na  62 Kuiseb Street, Eros Windhoek, Namibia

Agostinho Ferreira Architects Contact Person: Agostinho Ferreira

 +264 61 227 306  afarch@iway.na  1 Haddy Street Windhoek, Namibia

Andrew Main Architects Contact Person: Andrew Main

 +264 61 210 420

+264 81 416 4461

 andrew@ama.com.na

 +264 61 220 654

Sven Nieberle

 ramymahdyarchitects@gmail.com

 +264 61 250 599

 Windhoek, Namibia

 sven@bartschnam.com

Ricardo Charles Michaels

 Windhoek, Namibia

 +264 61 227 314

Sven-Erik Staby

 ricardo@rmarchnam.com

 +264 61 227 013

 Windhoek, Namibia

 staby@mtcmobile.com.na

 frenus@frenus-rorich.com

Robert Colin Mould

 Windhoek, Namibia

 171 Anton Lubowski Street Swakopmund, Namibia

 +264 61 227 764

Toini Kondjeni Nkandi

 mouldwhk@iway.na

 +264 61 309 899

 Windhoek, Namibia

 kondjeni@knarchitect.com.na

Rondald Mugandiwa

 Windhoek, Namibia

 +264 61 208 8707

Toivo Kapuka Nuugulu

 mugandiwa@mwtc.gov.na

 +264 81 637 6611

 Windhoek, Namibia

 toivo@tna.com.na

Creative Industry Guide Namibia 2019/2020

 Unit 4B, Square Park Hebenstreit Street Windhoek, Namibia

Architect Frenus Rorich Contact Person: Frenus Rorich

 +264 61 402 713

 Windhoek, Namibia

46

+264 81 263 6427

Architects Ink Potgieter & Partners Contact Person: Christo Potgieter, Adriaan Schutte

 +264 61 387 400

+264 81 127 8579

 christo@ai.com.na  Office 2A, Yang Tze Village Sam Nujoma Drive Windhoek, Namibia

Art endows people with a sense of identity and self-reliance.

- Sarala Krishnamurthy

Axel Dainat Architects Contact Person: Axel Dainat

 +264 61 237 860

+264 81 124 1122

 axel@adarchitects.com.na  8 Slater Street Windhoek, Namibia

 3 Conrad Rust Street Windhoek, Namibia

 43 Schanzen Road Windhoek, Namibia

Brynard Kotze Architects Inc

Christensen Architects

Contact Person: Brynard Kotze

Contact Person: Andre Christensen

 +264 61 207 688

+264 81 274 5712

+264 81 411 3027

 info@kbdarchitects.com

 christensenarchitects@gmail.com

 41 Sam Nujoma Avenue Walvis Bay, Namibia

 37 Metje Street Windhoek, Namibia

Contact Person: Leon Barnard, Francis Mutua, Marco Scriba

Carlo Sprengel Architects

Clarke Architects

 +264 61 240 405

Contact Person: Carlo Sprengel

Contact Person: Julie-Anne Clarke

 leon@barnardmutua.com francis@barnardmutua.com marco@barnardmutua.com

Barnard Mutua Architects

 152 Robert Mugabe Avenue Windhoek, Namibia

Bartsch Architecton Contact Person: Dirk Theunissen, Sven Nieberle

 +264 61 250 599

+264 85 124 9483

 sven@bartschnam.com  11 Nelson Mandela Avenue Windhoek, Namibia

Bhunu Architect Contact Person: Patridge Bhunu Shava

 +264 61 222 349

+264 81 223 3111

 bhunuarchitech@iway.na  Room136, 1stFloorBRBHouse c/o AB May Street andGarten Street, Windhoek, Namibia

Bob Mould & Scheffer Architects Contact Person: Conrad Scheffer

 +264 61 203 125

+264 81 123 3125

 phil-mari@bobmouldscheffer.com  Sam Nujoma Avenue Walvis Bay, Namibia

Bob Mould Architects Contact Person: Robert Colin Mould

 +264 61 227 764

+264 81 124 2710

 admin@bobmouldarch.com

 +264 61 230 954

+264 81 127 7482

Creative Industry Guide Namibia 2019/2020

 +264 61 401 428

+264 81 128 0435

 carspr@mweb.com.na

 julie@clarke-architects.com

 23 Rautenbach Street Windhoek, Namibia

 c/o Trift & Schinz Street, no 19 Windhoek, Namibia

Chigama Architects

Claud Bosch Architects

Contact Person: Kudawashe Chigama

 +264 61 259 125

Contact Person: Claud L.Bosch, Dawid Van der Merwe, Elske Van der Merwe, Nekwaya Agapitus

 kchiga@gmail.com

 +264 61 237 160

 9 Hugo Hahn Street Windhoek, Namibia

 clb@boscharchitects-1.com

Chitsungo Architects

 19 Robert Mugabe Avenue Windhoek, Namibia

Contact Person: Alec Chitsungo

DB-NdhlovuIcon Architects Inc

 +264 81 384 9818

Contact Person: Delisa B. Ndhlovu

 chitsungoalec@gmail.com

 +264 61 307 392

+264 81 395 8640

 9 Liszt Street Windhoek, Namibia

 delisa.ndhlovu@iconarch.com.na

Chris de Jager Architects

 12 Jakaranda Street, Windhoek Windhoek, Namibia

Contact Person: Christopher de Jager

 +264 85 556 0063  cdjarch@iway.na  28 Promenaden Road Windhoek, Namibia

Christel Wasserfall Architects Inc

We are a small office established in January 2012 with a team that has been carefully selected and with 23 years individual experience we are able to specialize in all sectors of the building environment.

Contact Person: Christel Wasserfall

 +264 61 221 229

+264 81 263 1696

 christel@wasserfallmunting.com

48

 +264 61 401 109

Deidre de Waal Architects Contact Person: Deidre de Waal

 +264 61 463 800

+264 81 124 6839

 deidre@ddwa.na  Unit7, Kronheimer Courtyard, 39 Sam Nujoma Avenue Swakopmund, Namibia

Deon Pretorius Architects Contact Person: Deon Pretorius, Charl Andre Pretorius

 +264 61 222 612  admin@dpanamibia.com

 38 Promenaden Road Windhoek, Namibia

Dewulf Architecture

 gamalrifaiarchitects@gmail.com

Contact Person: Willem Dewulf

 22 Robert Mugabe Avenue Windhoek, Namibia

 +264 81 128 7825  arch.dewulfarchitecture@gmail.com

 +264 61 220 654

+264 81 333 5845

Gerrit Burger Architects Contact Person: Memory Burger

 18 Hella Kuppe Street, Olympia Windhoek, Namibia

 +264 81 124 1801

Dylan Saunders Architects

 gerritgba@iway.na

Contact Person: Dylan Saunders

 38 Promenaden Road Windhoek, Namibia

 +264 81 279 3580  dylan@dsa.com.na  Unit 24A, Bougain Villa Mall Klein Windhoek Windhoek, Namibia

Eckhard Siedentopf Architectural Design

Herrmann Mueller Architects Contact Person: Herrmann H.M. Mueller

 +264 61 259 721

+264 81 129 9721

 esad@mweb.com.na  6 Ziegenfuss Street Windhoek, Namibia

Endri Steenkamp

 +264 61 402 858

+264 81 127 2858

 eroxin@iway.na

 jswart@africaonline.com.na

 www.jwainc.co

 6B Margarethen Street Windhoek, Namibia

JMasanzu Architects Workshop

Hugo Scheepers Architects

Contact Person: John Masanzu

 +264 61 259 728

Contact Person: Hugo Scheepers

 +264 61 221 725

 jmasanzu@gmail.com

 hugo@hugosarc.com

 Flat 2 Camelthorn Court, Acacia Windhoek, Namibia

+264 81 398 6751

+264 81 128 2354

 5 Square Park, Hebenstreit Street Windhoek, Namibia

Jaco Wasserfall Architects Inc Award-winning architectural practice in Windhoek with strong design focus Contact Person: Jaco Wasserfall

Contact Person: Erhard Roxin

 +264 81 251 3155

 herrmann@hma.com.na

 endri@wessdesign.com

Erhard Roxin Architects

Contact Person: Jacques Swart

 1 Chopin Street Windhoek, Namibia

Contact Person: Endri Steenkamp

 +264 81 480 7323

We are a small office established in January 2012 with a team that has been carefully selected and with 23 years individual experience we are able to specialize in all sectors of the building environment.

 +264 81 418 1390

Contact Person: Eckhard Siedentopf

Jacques Swart Architects

 +264 61 230 271

Kamau Architects & Associates Contact Person: Gloria Gachiku Kamau

 +264 81 260 8994  gkamau@iway.na  Unit 13, 2nd Floor Bridge View, Office no 4, Dr Kwame Nkurumah Street, Windhoek, Namibia

 jaco@jwainc.co  43 Schanzen Road Windhoek, Namibia

Kamilia Architect & Project Management Contact Person: Kamilia M.Yakoop

 www.jwainc.co

 11 Daniel Tjongarero Avenue Swakopmund, Namibia

Jan Spruyt Architects

Erich Roeber Architects

Contact Person: Jan Spruyt

 kyakoop@hotmail.com

 +264 61 258 774

 Erf 1156, Leo-Shoopala Street Oshakati, Namibia

 jan@jsarchitects.com.na

Karen Miller Architect

 4 Sinclair Street Windhoek, Namibia

Contact Person: Karen Miller

Contact Person: Erich Roeber

 +264 61 308 424

+264 81 149 8101

 erich@eranamibia.com

+264 81 124 9412

 +264 61 220 888

+264 81 148 4284

 32 Bismarck Street Windhoek, Namibia

Gamal Rifai Architects

 karenmil@iway.na

 +264 61 407 121

+264 81 279 3704

Contact Person: Ahmed Simwaya

Creative Industry Guide Namibia 2019/2020

49

 10 Hendrik W itbooi Street Swakopmund, Namibia

 Unit 403, 4th Floor Maerua Mall Windhoek, Namibia

Karsten Rohlf Architecture

Lotter Krogh Architects

Contact Person: Karsten Rohlf

Contact Person: Cobus Lotter WaldoKrogh

 +264 61 235 556

 +264 61 207 654

 k.rohlf@kr-architecture.com

 cobus@clarchitects.net waldo@clarchitects.net

 17 Herbst Street Windhoek, Namibia

 84 Theo Ben Gurirab Street Walvis Bay, Namibia

Kelvin Kanyanta Architects

Lydia Schroder Architect

Contact Person: Kelvin Kanyanta

Contact Person: Lydia Schroeder

 +264 61 264 815

 +264 61 242 972

 karen@mrarchitects.com.na mark@mrarchitects.com.na

 kkarch@iway.na

 schroderlydia@iway.na

 664 Principe Street Windhoek, Namibia

 Windhoek, Namibia

+264 81 292 5785

Muller & Neumeister Architects Contact Person: Heiner Dillmann

 +264 61 224 561  heinerd@iway.na  11 Am Wasserberg Street Windhoek, Namibia

Munting Rechholtz Architects Contact Person: Karen Munting, Mark Rechholtz

 +264 61 243 092

+264 81 292 2601

 Unit8, 2nd Floor Bridgeview, Office no4, 4 Dr Kwame Nkurumah Street, Windhoek, Namibia

Kerry McNamara Architects

Mackintosh Lautenbach Architects

Contact Person: Kevan McNamara, Rowan McNamara

Contact Person: Kirby Mackintosh, Roderick Lautenbach

Contact Person: Justin Mwanakatwe

 +264 61 404 830

 +264 61 213 514

 +264 61 235 065

+264 81 279 6289

 kevan@kma.com.na rowan@kma.com.na

Mwanakatwe Studio Architecture Inc

+264 81 124 6291  mwamba@msainc.com.na

 info@mlaarch.com  6 Omaruru Street Windhoek, Namibia

 26 Heinitzburg Street Windhoek, Namibia

 Nr.5 Moringa Gardens 5 Leutwein Street Swakopmund, Namibia

Kondjeni Nkandi Architects Inc

Manda Bakkes Architects

Contact Person: Kondjeni Nkandi

Contact Person: Manda Bakkes

Inventive and versatile professionals doing unique and sustainable architecture, urban and landscape design projects of any type or size.

 +264 61 302 810

Contact Person: Nina Maritz

 +264 61 309 899

+264 81 417 8834

Nina Maritz Architects

+264 81 252 6672

 +264 81 129 0752

 kondjeni@knarchitect.com.na

 manda@mbanam.com

 12 Kupferberg Street Windhoek, Namibia

 Maxwell Street, Hyper Motor City Unit 31, Windhoek, Namibia

Linus Malherbe Architect

Mario Shilongo Architect

 82 Dr. Kenneth David Kaunda Street Klein Windhoek Windhoek, Namibia

Contact Person: Linus Malherbe

Contact Person: Mario Shilongo

 www.ninamaritzarchitects.com

 +264 85 555 0255

 +264 81 706 3336

Oyula Architecture & Design Inc

 linus.malherbe@gmail.com

 shilongomario@yahoo.com

Contact Person: Apiyo Maria Koko, Oyula

 148 Robert Mugabe Avenue Windhoek, Namibia

 Erf 2084, Omuryambambi Street Windhoek, Namibia

 +264 81 610 7914

Lock + Mans Architects

Marley Tjitjo Architects Inc

Contact Person: Marnus Mans, Lawrence Lock

Contact Person: Marley Tjitjo

 nina@ninamaritz.com

 apiyomk@gmail.com

 +264 81 220 7067

+264 81 444 3492

 marnus@lockmans.co lawrence@lockmans.co

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Creative Industry Guide Namibia 2019/2020

 +264 61 220 604  marley@mtarch-inc.com  5 Bahnhof Street Windhoek, Namibia

 Windhoek, Namibia

Pauw Joubert Architects Contact Person: Izaan Pauw Joubert, Danie Joubert

 +264 81 692 0962

 izaan@blocdesignstudio.com danie@blocdesignstudio.com  24 Moes Tjidendero Street Windhoek, Namibia

Rynand Mudge Architects Contact Person: Rynand Mudge

 +264 61 236 615

Wim+Endri Steenkamp Architects Contact Person: Wim Steenkamp

 +264 61 237 106

Pieter Mostert Argitek

 reception@rma.com.na

Contact Person: Pieter Mostert

 1st Floor Gathemann Building Independence Avenue Windhoek, Namibia

 wim@wessdesign.com

 +264 61 238 603

+264 81 124 8636

 pieter@argitek.biz  1 Arians Street Windhoek, Namibia

Prinsloo Loubser Architects Contact Person: Uys Prinsloo, Geline Loubser

 +264 61 237 162

+264 81 128 1240

 geline@pla.com.na uys@pla.com.na lanel@pla.com.na  Unit 2, 20 Feld Street Windhoek, Namibia

Quarmby-Parbhoo Architects Contact Person: Waseela Parbhoo

 +264 81 445 3539  waseelaparbhoo@gmail.com

Ramy Mahdy Architects Contact Person: Ramy Mahdy

 +264 61 226 054

+264 81 304 1588

 ramymahdyarchitects@gmail.com  22 Robert Mugabe Avenue Windhoek, Namibia

Ricardo Michaels Architects Contact Person: Ricardo Michaels

 +264 61 227 314  ricardo@rmarchnam.com

Staby Designs Contact Person: Sven-Erik Staby

 +264 61 227 013

+264 81 611 0622

Contact Person: Winfried Holze

 +264 61 251 289

 5B Etsali Street Windhoek, Namibia

 holze@mweb.com.na

Stauch & Partners Architects Contact Person: Andrew Chase

 +264 61 235 026

+264 81 124 4242

 andy@stauch.com.na  9th Floor Channel Life Building Post Street Mall Windhoek, Namibia

Toivo Nuugulu Architects Contact Person: Toivo Nuugulu

 +264 81 637 6691  toivo@tna.com.na

+264 81 291 4456

 30 Sanderburg Street Windhoek, Namibia

ANIMATION FOR ARCHITECTURE Matheus Mweneni Uugwanha Contact Person: Matheus Mweneni Uugwanha

 +264 81 305 8242  lotarioart@gmail.com mark@mrarchitects.com.na karen@mrarchitects.com.na  Unit 8, Second Floor, Bridgeview Offices, 4 Dr. Kwame Nkurumah Street Windhoek, Namibia

 Unit3, 2nd Floor Obowi Centre 22 Independence Avenue Windhoek, Namibia

Una Stuurmann Architects Contact Person: Una Stuurmann

 +264 61 227 306  una@usarchnam.com  13 Liszt Street Windhoek, Namibia

Ronnie Barnard Architects

Contact Person: Dr.Jaco Wasserfall, Paul Munting

Not listed? Visit our website and get listed online www.creativeindustryguide.com

 +264 61 230 271

 +264 61 568 936

 jaco@wasserfallmunting.com paul@wasserfallmunting.com

 rbarnard@iway.na

 43 Schanzen Road

 Gobabis, Namibia

+264 81 128 7751

Winfried Holze Urban Design Architecture

Wasserfall Munting Architects Inc

 32 Bismarck Street Windhoek, Namibia

 staby@mtcmobile.com.na

 13 Liszt Street Windhoek, Namibia

Contact Person: Ronnie Barnard

+264 81 416 6110

Windhoek, Namibia

Creative Industry Guide Namibia 2019/2020

51

CRAFT

SECTOR

3

Craft Creative Industry Guide Namibia 2019/2020

53

The Namibian Craft Sector Karin Le Roux

A (not so grim) history of the craft industry in Namibia- Doing better than you might think…

Namibian Karin le Roux is the

In 1993, a small book Rural Art in Namibia was published that accompanied

founding director of the Omba

a post-independence exhibition of the same name to Denmark, Norway and

Arts Trust and has been involved in developing, marketing and researching the craft sector in Namibia for over 30 years.

This includes managing and expanding the Namibia Craft Centre from 1996 - 2011.

Finland. This was followed by another publication in 1994, A Survey of Natural Resource Based Production and Marketing , the first comprehensive research in Namibia of natural resource-based craft production.

What these two early publications reveal, is that there were a considerable number of businesses and ‘projects’ active in the craft sector at this time, and as many support organisations. Some 20 ‘projects’ were directly engaged in the development, production and marketing of crafts; over 20 organisations supported/funded the sector with an additional 13 that were directly engaged in the marketing of Namibian crafts.

The Namibia Crafts Centre (NCC), located just off Independence Avenue in Windhoek, serves as the country’s premier market for Namibian handcrafts. In 1996 when the Rossing Foundation took over the management of the centre (established a year or two earlier) there were some 25 craft enterprises located there with approximately 7000 visitors to the centre. The Omba Arts Trust took over the management of the centre in 2004 and by the time it handed over the centre to the newly established Namibia Art, Craft and Design Section 21 company in 2011 there were over 30 craft enterprises, a dedicated gallery space for art exhibitions and about 45 000 visitors per annum – a growth of some 84%.

Over the years of the NCC’s existence, stalls selling a variety of Namibian product ranges, have opened and closed. This data does not include the many other urban or farm-based craft enterprises that included the karakul wool carpet workshops and other jewellery, ceramic, candle making, hand-woven textiles and designer furniture enterprises.

Since 1996 there have also been significant developments in the establishment of community and commercial marketing outlets around the country with both successful - and failed - centres based in several regions and in many town

54

Creative Industry Guide Namibia 2019/2020

craft that the socio-economic impacts of craft production on craftspeople, likes Maltahohe, Kalkrand, Hoachanas,

their families and communities is

Okahandja, Aus, Uis, Swakopmund,

significant. This is why countries

Khorixas, Twyfelfontein, Purros, Epupa,

around the world invest in the sector. In

Tsumeb, Opuwo, Gobabis, Omathiya,

Namibia, we have seen the following:

Onankali, Ondangwa, Twyfelfontein, Tsumkwe, Tsinsabis, Rundu, Mashie,

•

Hundreds of Namibians, who

Mashambo Katima Mulilo, Ngoma

would be considered part of the

and several others. The escalation of

33%

tourism in the past 20 years has also

recently released in Namibia,

resulted in more lodges – many of

receive regular incomes from

which sell Namibian crafts to guests.

craft production – often their only

unemployment

statistic

livelihood opportunity.

What this data reveals, is that we need to be cautious about the notion

•

Women make up some 95% of

that seems prevalent in some circles

the total number of craftspeople

in Namibia – that the craft sector is

– and it is well known fact that

un- or underdeveloped.

Given our

their money is used on the

small population and the number of

health, education and welfare of

iconic products, marketing brands and

their families. Besides improving

indeed the craft networks around the

the skills, confidence and self-

country – Namibia has made great

esteem of these women, we have

strides in developing the sector over

noted within our own organisation

the past 25 years.

as well as in the conservancies with whom we have partnered,

It would be pertinent at this juncture

that women take on prominent

to

leadership

understand

why

many

craft

roles

in

their

initiatives have failed and indeed why

communities. They often sit on

have some succeeded and/or how

local development committees

do we define ‘success’, and why have

and even, as in the case of the

so many community craft centres

Nyae Nyae Conservancy, the

not fulfilled the expectations of the

Ju/’hoansi

agencies that put capital into building

went on to become the first

the infrastructure and/or why have

female

the community craft centres not been

conservancy.

able to grow production, innovate and/ or become efficient partners in the supply chain?

•

crafts

co-ordinator

chairperson

of

the

For many craftspeople, craft production is an opportunity to mitigate against the effects of

Benefits of the craft sector

crop failure as a result of poor rain (2019 there has been a huge spike

Whilst there is insufficient quantitative data in Namibia that speaks to the whole sector, it is generally agreed internationally, and from our own experience at the Omba Arts Trust,

It is important to understand the benefits of a vibrant national craft sector and why it is so important to continue to invest in it.

•

•

in craft production nationally). For others the pooling

And this brings me to a key factor in the importance of

of a portion of income from craft allows the group to

the craft sector in Namibia. The craft sector allows people

distribute money when needed for emergencies like

to connect and through this connectivity miracles often

funeral-related expenses.

happen. It is now a well-established fact, that social isolation is a hidden element of poverty. Many craftspeople are rural-

Craft promotes joint production possibilities sometimes

based, or living in informal settlements on the fringes of

cementing

Broader

urban areas. Craft related organisations, businesses and

community development initiatives arise from craft

even customers help generally marginalised craftspeople to

support organisations. Within our own organisation

become connected. Through this connectivity, relationships

we have addressed issues related to HIV aids, gender

are built and nurtured, there is greater understanding of

violence, nutrition and food security (including support

the real issues around poverty and marginalisation, and

to the establishment of homestead vegetable gardens

this connectivity facilitates better access to resources –

and improving agricultural yields), and provided solar

strengthening the resilience of communities and giving

powered lights to non electrified rural villages using

individuals hope. Also, there is some merit to the notion that

craft supply chains, to name a few.

craft production, particularly in the rural areas, contains

community

differences.

urban migration.

Working in the craft sector has given us and Namibia’s Conservancies a better understanding of the natural resources used in craft production and the need to create awareness with regard to using these materials sustainably. Omba Arts Trust has been a pioneer in not only trialling palm and dye tree gardens but in the last two years has helped baskets weavers in the Kavango region plant hundreds of palm nuts and dye trees.

•

Key players in the craft sector (organisations as well as individuals) have been responsible for mobilising people into production units, harnessing traditional skills, keeping traditional crafts alive and providing an opportunity for new skills to be learned; they have been key players in innovation whilst developing sustainable supply chains. Additionally, they have provided much needed capital as well as the means to source raw materials (often in bulk) locally, regionally and even internationally

56

Creative Industry Guide Namibia 2019/2020

Create awareness with regard to using these materials sustainably.

Going Forward

class designer products have been made in Namibia – unfortunately the tourism market has largely ignored

So, recognising that significant resources have already been

these – and the local market is just not big enough to

ploughed into the sector in the past 30 years, why is there

sustain them.

the perception that it is under-performing, and indeed, is there a need to invest more resources into the sector?

There is also an on-going perception that the export market is the panacea for the sector. A number of enterprises,

The key driver to sustaining and growing the craft sector

including the Omba Arts Trust, have tested this market,

in Namibia is access to markets. The majority of craft

sometimes with support from the Ministry of Trade and

enterprises, traders and crafters target this very robust

Industry. It is a tough market to crack! Little wonder that

tourism market –supliers that are not only from Namibia

some of the iconic Namibian craft enterprises started in the

but from the rest of Africa! There are pros and cons to a

90’s and who participated regularly in trade fairs in Europe,

dependency on the tourist market; on the one hand, with

have all resorted to expanding their craft businesses back

the weak N$/ZAR, craft items are reasonably affordable

in Namibia. It has been more lucrative to open several

to tourists. On the negative side we have witnessed how

local outlets where they can include Namibian as well

unpredictable and inconsistent this tourism market can be

as other African-sourced products. Others have simply

- sensitivity to exchange rates, local and world economics,

not had the capital, the volume, the price points and/or

competition from other tourist destinations could decrease

the skills and capacity to meet the stringent demands of

the tourism numbers. Tourists also generally have a

export customers.

penchant for ‘curio’ and small items. Over the years worldThe fact that many craft enterprises, including community craft markets that were initiated to support locally made Namibia handicraft and are now selling products sourced all over Africa, also reflects the challenges of running a 100% made Namibian business. The costs to training, product development, sourcing, distributing materials, and the threats to supply chains that are developed over many years, only to have these intercepted by other opportunistic buyers, all impact the margins and viability of a 100% Namibia craft enterprise. Hats off to local corporates and international donors who understand the broader benefits and still do support local craft initiatives.

So the questions we need to ask: firstly, how do we shift our mind-set from the somewhat negative perceptions of the status of the sector to the realities of the sector; secondly, what can we learn from past lessons; and more importantly what do we need to do going forward, using the limited resources available to us, to ensure that the sector remains vibrant and most importantly of all continues to benefit more Namibians.

Omba Arts Trust product development, from the traditional to the contemporary: Harvesting baskets become an art work.

Creative Industry Guide Namibia 2019/2020

57

The latest figures suggest that 50% of Namibians now live on the urban fringes of the country. Currently by far the majority of crafters live in rural areas where they have access to raw materials, but where supply and training logistics are a challenge.

There is therefore a huge untapped resource with access to easier craft production units in these semi urban areas where people can be trained to produce more products specifically targeting the tourism and hospitality market in production workshop units.

Whilst there is an availability of raw materials particularly in rural areas, there are sometimes challenges to accessibility and sustainability. Other products (other than those using recycled materials) rely on import supply chains making these products price sensitive and often unable to compete on the regional and international market. This needs to be addressed by policymakers in government.

But the key to reviving and ensuring a robust and vibrant sector in my opinion – is the following:

1.

2.

We need to be realistic about the challenges of working

We need to regularly laud and applaud some of the

in a large country with a small population and, not only

iconic products from the many regions in this country

focus on those areas with the most viable outcomes

both past and present (sadly often without the identities

but, also utilise existing resources like the NGOs

of the artist/craftsperson) as well as some of the local

working with conservancies, successful marketing

enterprises /brands developing and selling these

hubs in Ngoma and Mashie in the Zambezi region, the

products and organisations championing the sector. They

Namibia Craft Centre, Omba Arts Trust and COSDEF to

are often lost and forgotten in the morass of churned

name a few. PAN (Potter’s Association of Namibia) is a

out tourism trinkets that flood our pavements and curio

model worth investigating – not only has it survived for

shops. A comment from the opening speaker at the

over 30 years, but it is managed with minimal financial

annual 2019 PAN exhibition noted, quite correctly, that

input and continues to succeed at its mission. Starting

there was not one piece of ceramic art from any of the

new institutions without guaranteed capital when

ceramic artists represented in the exhibition (including

resources are dwindling will be extremely challenging.

those from the Zambezi region) on display at the Namibia Craft Centre. The NCC could and should be the showcase

Accept that the competition from foreign African

for the best Namibia has to offer – but curated space

countries, where producers in workshops number

would be needed.

thousands, is not going to go away. Understand the reasons for failure in the past and successes in the

4.

Co-ordinating bodies and committees, who are tasked

present – and we need to be more modest in our

to support the sector, should rather consider specific

aspirations.

Set a realistic vision with achievable

strategies that provide a supportive role and an enabling

targets and walk the road to success, one step at a

environment than a direct implementation role. The

time. During the past ten years there have been a

Namibia Crafts Centre as an existing structure is well

number of well-meaning but unrealistic plans for the

positioned to expand its role in this regard.

sector that have sadly just not taken root.

58

3.

Creative Industry Guide Namibia 2019/2020

5.

We need to encourage and champion designers (and

Taking inspiration from the blurb on the Internet (with

connect them with crafters), innovators; craft support

apologies to 100% Design South Africa!) how about:

agencies including architects and interior designers. In the early years there was a buzz at each new exhibition

100% Design Namibia

in galleries around Windhoek where new products were

100% Design Namibia is geared towards doing business,

launched – it inspired and motivated the sector raising

writing orders and setting up new business networks and

it to new heights.

relationships.

We need to take a deeper look into Namibia’s craft fraternity and find and promote the best through curated exhibitions, media exposure, awards and profiles. This will diversify the predominantly tourist oriented product and attract a new generation of design conscious and trendy Namibians as well as our leaders from government and the corporate sector.

If we want to give an identity to Namibian craft and design as so many people in the sector propagate then this is where we could put our energies and our limited resources – follow the route South Africa and other African countries, and indeed even our local Potter’s Association have taken through an annual or bi annual locally curated design fair and exhibition. Extend this to participation in international design fairs like those held in Johannesburg and Cape Town in South Africa. Profitability should not be the main objective for participation in these markets; rather see the value in connecting designers and crafters to the world and help the sector nurture and harness creativity and gain momentum.

Omba Arts Trust product development, from the traditional to the contemporary: Ju/‘hoansi ostrich eggshell bead jewellery.

Creative Industry Guide Namibia 2019/2020

59

listings

LISTINGS

61 CRAFT CENTRES 61 CRAFT SHOPS

& SUPPLIES 61 CRAFTERS 62 TRADITIONAL CLOTHING 63 BASKET WEAVING 63 CERAMICS & POTTERY 63 CURIOS, NOVELTIES

& SOUVENIRS 63 EMBROIDERY & NEEDLEWORK 65 GOLDSMITH & JEWELLERY DESIGNERS 65 HANDICRAFT 66 LEATHERWORKS 66 WEAVERS 67 WOODWORK & CARPENTRY 67 FRAME SHOPS

60

Creative Industry Guide Namibia 2019/2020

CRAFT CENTRES COSDEF Arts And Craft Center

COSDEF Arts & Crafts Centre serves as a selling and value-added outlet for arts and craft products produced at COSDECs and from local producers around the country.

Penduka Namibia

Bushman art Gallery

Contact Person: Elizabeth Simon

 +264 61 228 828

 +264 81 207 9911

 Bushart@iafrica.com.na

 management@penduka.org

 187 Independence Avenue Windhoek, Namibia

Contact Person: Michelle //Inixas

 7653 Katutura, Plot 36 Goreangab Dam Windhoek, Namibia

 +264 81 818 2928

 www.penduka.com

 artsncraft@iway.na

 Textile products for the Home  @Penduka Trust  Penduka

 Mandume Ndemufayo Street Swakopmund, Namibia

 www.bushmanartart-gallery.com

Jenny’s Place

Your one stop Arts and Craft store. Canvases, paints, scrapbooking, mosaics, beads, wooden blanks, paper, stamps and more.

Contact Person: Marlene De Wet

 CosdefArtsandCrafts

 +264 61 269 152

Katima Craft Centre

 marlene.jennysplace@gmail.com

Contact Person: Patrick Shambwe

 78 Sam Nujoma Drive Bougain Villas Mall Windhoek Windhoek, Namibia

 +264 66 252 670

Khorixas Craft in Nam Trading

Caprivian artifacts, handcrafted wooden sculptures, pottery and woven baskets.

+264 66 252 694 +264 81 278 4445

Contact Person: Engenesia Kaunatjike

 katimacraftcentre@iway.na

 +264 81 348 0715

 Katima Open Market Katima, Namibia

Namibia Craft Center Craft retail space.

Contact Person: Shareen Thude

 +264 61 242 222  craftcentre@iway.na infocraftcentre@iway.na

 Khorixas

Kirikara Art and Craft WHUDA MARBLE ART

We create art from locally mined marble stone. Small art objects primarily for the tourist and decorative art market, medium and large objects for freestanding or build-in commissioned art and other for display and sale in art galleries. All objects are distinctly Namibian, reflecting its people, fauna and flora.

 Old Breweries, 40 Tal Street, CBD Windhoek, Namibia

Contact Person: Winfried Holze

 www.namibiacraftcentre.com

 +264 81 291 4456

 namibiacraftcentre.ncc

 holze@whudanamibia.com

Ncumcara Mile 20 Community Craft Centre

 HTS BAU Industrial Park, Iscor Street Northern Industrial area Windhoek, Namibia

Handmade high-quality woodcarving, baskets and jewelry.

 +264 81 285 6594

CRAFT SHOPS & SUPPLIES

 Mile 20, Rundu

art @ ark

Contact Person: Joseph Rihita Ndjamb

Ombalantu Baobab Tree Heritage Centre

Fine art supplies, clay, screen printing materials and vinyl.

Heritage centre with traditional art and craft shop.

 +264 61 385 900

Contact Person: Gebhard Shiimbi

 6 Ridvan Avenue Southern Industrial Windhoek, Namibia

 +264 81 438 4705

 artatarktrading

All manner of African jewellery, hand woven rugs & carpets, textiles & raffia, ceramics & pottery, contemporary & tribal art, baskets, furniture, functional art, books, and music.

Contact Person: Claudia von Hase

 +264 62 581416  claudia@kirikara.com  Studios & Farm Gallery Guest Farm, KIRIPOTIB, 160km South East of Windhoek  www.kirikara.com

CRAFTERS Elvis Garoeb Contact Person: Elvis Garoeb

 +264 81 659 4521  elvisgaroeb41@gmail.com  Windhoek, Namibia

Evelina Fininika, Community Craft Project Contact Person: Evelina Fininika

 +264 81 274 8197

 Outapi

Creative Industry Guide Namibia 2019/2020

61

Huibasen Art & Craft Contact Person: Anna Tsuses, Hubertha /Hoxobes

Oasa Taradi Trust

Community craft project for homeware products.

 Gobabis, Namibia

 Namibia Craft Centre Swakopmund, Namibia

Karas Huisen Craft

Omba Arts Trust

+264 81 854 3253

Community craft project, dolls, shooping bags, hair accessories and stuffed toys.

 +264 63 224 364

+264 81 284 1175

 apollusger.nampin@gmail.com  Namibia Craft Centre, Wake Centre Tseib Avenue, Keetmanshoop, Namibia  karashuisencrafts.wordpress.com

Limbandungila

+264 81 221 1015

 +264 81 780 2217

Supporting sustainable livelihoods of marginalised communities through the development, sales and marketing of quality crafts.

+264 81 240 7083

 Namibian Craft Centre Windhoek, Namibia

TRADITIONAL CLOTHING Aimab Fashion Traditional Clothing

Contact Person: Maria Ingrid Kanguatuuako

Contact Person: Karin Le Roux

 +264 81 485 1629

 +264 61 242 799  salesadministration@omba.org.na

 Erf 2239 Shrike Close Arandis, Namibia

 Unit 15A, Old Breweries Courtyard Windhoek, Namibia

Friendly Boutique Ongenga

 www.omba.org.na

Contact Person: Rakkei Nghifikwa

Piitula Mukueni Investment cc.

 +264 81 236 3041

Contact Person: Ottilie Nghiitwikwa

 +264 61 242 222

Coordinator of Craft Project.

Contact Person: Stella-Maria April

 +264 61 229 891

 +264 81 834 5575

Stella-Maria April

Community Craft Project.

Contact Person: Monica Shiwandu

Traditional Clothing.

 Ongenga, Oshikango, Namibia

 +264 81 291 0414

At the center of the marble we work on lies a deep truth AAttruth of our resilience, our we uniqueness andaindividuality the center of the marble work on lies deep truth A truth with which we carve a powerful lasting legacy A truth of our resilience, our uniqueness and individuality A truth with which we carve a powerful lasting legacy Each work promoting a new way of containing all the good aspects of life through innovative and addition Each workDone promoting a new way of methods containing allvalue the good aspects of life Drawing from theinnovative diversity ofmethods our people our traditions Done through andand value addition Echoing elements specific to our Namibia Drawing from the the natural diversity of our people and traditions Infused with magical features, colours and light reflecting its pureness Echoing the natural elements specific to Namibia Infused with magical features, colours and light reflecting its pureness Our works are generating healing and confidence in our continent Transforming ourgenerating people from victimand to victors with each stroke Our works are healing confidence in ourchisel continent Empowering our people to express the best of themselves Transforming our people from victim to victors with each chisel stroke in apeople solid and beautifulthe manner Empowering our to express best of themselves in a solid and beautiful manner We are facilitators We are conductors a new positive future We areof facilitators We are aWe statement of potential that positive stands the test of time are conductors of a new future Authentic, organic, perfect and timeless We are a statement of potential that stands the test of time Authentic, organic, perfect and timeless We are WHUDA MAN HTS BAU Industrial Park, Iscor street, Northern Industria P.O. Box 1782 Windhoek 5001, HTS BAU Industrial Park, Cell: +264 81Iscor 291street, 4456 Northern Email: Industria P.O. Box 1782 Windhoek 5001, Holze@Whudanamibia.com Cell: +264 81 291 4456 Email: Holze@Whudanamibia.com

We are WHUDA MAN WHUDA MARBLE ART NAMIBIA WHUDA MARBLE ART NAMIBIA

Ingrid Trading Enterprises Traditional Clothing.

Pots of Hope

Women’s community based, pottery and ceramic products.

Contact Person: Maria Ingrid Kanguatuuako

Mewiliko Gift Shop

Handmade gifts and souvenirs.

Contact Person: Anna Hango

Contact Person: Patrick Shambwe

 +264 81 303 5480

 +264 61 242 222 / +264 81 246 7370  +264 81 128 1141

 SME Part 885/6 Mariental, Namibia

Mama Dolly Trading

+264 81 288 4581

 alexianaris@yahoo.com

Traditional Clothing.

 Kamanjab, Namibia

Contact Person: Laimi Nayeni

 Pots of Hope

 +264 81 147 777

Potters Association Of Namibia

 FNB Complex Outapi Onadjaba, Namibia

We encourage the development, recognition, appreciation of pottery and ceramics; we hold exhibitions, publish regular newsletters, and distribute related magazines.

Nandes Fashion

Contact Person: Carola Lorc

Traditional Clothing.

Contact Person: Hilma Naunyango

 +264 81 272 4490  Outapi SME Park Outapi, Namibia

 +264 64 402 381  lorckc@iway.na pocket@iway.na  Swakopmund, Namibia  www.pan.iway.na

Naruu Fashion & Design

 Namibia Craft Centre Windhoek, Namibia

The Pocket Watch  +264 64 402 500  pocket@iway.na  Brauhaus Arcade Swakopmund, Namibia

EMBROIDERY & NEEDLEWORK !Ikhoba Textile Project

Communit craft project and embroidery

 +264 61 226 710

+264 81 124 9719

 Namibia Craft Centre Windhoek, Namibia

Traditional Clothing.

 Potters’ Association of Namibia

Contact Person: Penina Martin

CURIOS, NOVELTIES & SOUVENIRS

 IkhobaTextiles

Emage Workshop

Contact Person: Stephan Loubser

 +264 81 246 7289  Erf 2239 Shrike Close Arandis, Namibia

Anin Embroidery

Hand Embroidered textile solutions.

Handmade crafts, souvenirs and gifts.

BASKET WEAVING

Contact Person: Tanya Schemmer

Meme Shimbele Investment

 +264 81 270 0852

 +264 61 256 410  stephan@anin.com.na

+264 61 246 872

 emageworkshop@gmail.com

 78 Sam Nujoma Drive, Bougain Villas Number 19, Klein Windhoek Windhoek, Namibia

 Namibia Craft Centre

 www.anin.com.na

 Windhoek, Namibia

Henckert Jewellery & Souvenirs

 casaanin

CERAMICS & POTTERY

 +264 64 400 140

Basket and beadmaking.

Contact Person: Bernadette Amadhila

 +264 81 212 6442

Helao Training Centre Pottery.

Contact Person: Ester Sakeus

 +264 81 331 6917  Eenhana, Namibia

Peneyambeko Pottery

 swakopmund@henckert.com  39 Sam Nujoma Avenue Swakopmund, Namibia

 houseofanin

Anne-Marie Van Wyk

Sewing, Quilting, Bedding, Beading.

Contact Person: Anne-Marie Van wYk

 www.henckert.com

 +264 81 708 8370 Johannes Kambon

One-of-a-kind miniature cars made with recycled materials.

 avanwyk@gmail.com  Windhoek, Namibia

Contact Person: Johannes Kambon

Pootery, ceramic goods and ornaments.

 +264 81 779 9222

Contact Person: Rauna Hiskia

 Mbangura Wood Carver’s Co-Operative Rundu, Namibia

 +264 81 339 0533

 @casa_anin

Dina Kainamaseb Needlework.

Contact Person: Dina Kainamaseb

 +264 81 735 1437

 Arandis, Namibia

Creative Industry Guide Namibia 2019/2020

63

The world has truly moved into a new direction when it comes to creativity, and Namibia cannot afford to be left behind.

- Moses Molatendi Moses

 Gobabis, Namibia

Hellata Investments

 32 Jenner Street Windhoek, Namibia

Homeware and garment textile products.

 www.Frieda.co.za

Contact Person: Hella N. Mukwiilongo

 friedaluhljewellery

 +264 81 242 0164

+264 64 402 909

 Erf 1500 Ipumbu Ya Shilongo Street Mahetago Mondesa Swakopmund, Namibia

Ipopeng Knitting Project Knitted Products.

Contact Person: Philomena Muranda

 +264 81 243 3893  B4 NDC Market Gobabis, Namibia

Juliana Kambari Beats & Needlework.

Contact Person: Juliana Kambari

 +264 81 651 5026  Gobabis, Namibia

 @StudioFriedaLuhl

Likulika Beads Project Contact Person: Angelina Simbinde

 +264 81 388 6513  Windhoek, Namibia

Marukuavi’s Beads & Gifts

Eco-friendly, low-cost jewellery handmade from natural materials.

Contact Person: Rosa Kahuna

 +264 61 242 222

+264 81 277 9619

 Namibia Craft Centre Windhoek, Namibia  Opuwo Beads and Barcelets

Opuwo Beads & Bracelets

Himba jewellery, crafts and accessories.

Miling Trading Enterprise

 uapuena@yahoo.com

Contact Person: Philomena Muranda

 OK Store parking lot market Opuwo, Namibia

 +264 81 248 0946

 www.boldcreationsnam.com

Home-ware textile products.

+264 81 805 1660

 Grootfontein

Contact Person: Ricky Khaxab

Master Goldsmith.

Contact Person: Grit Bottcher

 Namibia Craft Centre

 +264 61 258 743

 www.thepeacecollection. getafricaonline.com

The studio Frieda Lühl Jewellery stands for handcrafted pieces of jewellery. Most of her pieces are once-offs and occasionally she produce limited ranges. Frieda enjoy’s working on commissions with a special person in mind and like’s the idea that her clients own something unique.

+264 81 406 2015

Southern Gemstones

Jewelry, Gemstones cutting and Polishing, Gemstones trading.

Contact Person: Jacobus Johannes Meyer

 +264 81 382 3090  meyergems@yahoo.com  Erf 1984, c/o Swakara and Pastorie Av Keetmanshoop, Namibia

Contact Person: Frieda Lühl  www.sgjewellery.com.na

 +264 81 751 3026

 Namibia Craft Centre Okahandja, Namibia  www.workofourhands.blogspot.com

HANDICRAFT Bold Creations

A multi-faceted company that provides creative services & products such as signage, sculptures, and many more - check our website.

Contact Person: Una Ferreira

 +264 81 206 0420  info.boldcreations@gmail.com  1 Haddy Street, Eros Windhoek, Namibia  www.boldcreationsnam.com  boldcreationsNam  @boldcreations_Nam

Kasupi Trading

Hand decorated clothing, jewelrry, accessories and selected apparel.

 +264 61 242 222

 Namibia Craft Centre

 +264 61 227 828

Frieda Lühl Jewellery

+264 81 294 0219

Peace Collections

Ekipa Gold Design

 Namibia Craft Centre Windhoek, Namibia

 +264 61 242 222

GOLDSMITH & JEWELLERY DESIGNERS

+264 81 286 8664

Women’s community craft project producing handmade beaded jewellery and accessories.

 Opuwo Beads and Barcelets

Range of personal adornment and accessories, drawing, aestheticism and inspiration from the rural Namibian environment.

Work of our Hands

+264 81 251 2271

Lord ‘J’ Dyeing House Hand painted textiles.

Contact Person: Rita Bankie

 +264 61 223 001

+264 81 260 2995

Mio Pet Beds

Hand crafted pet products and accessories.

 +264 61 242 222

+264 81 798 9386

 miomenamibia@gmail.com  MioPetBeds  @miomenamibia

Miracle Arts & Crafts

Variety of small to medium sized handicrafts from all over Namibia.

 +264 61 242 222

+264 81 312 1660

 Namibia Craft Centre

 Southern Gemstones

 info@frieda.co.za

Creative Industry Guide Namibia 2019/2020

65

Rustic Wire & Beads

Creative minds and capable hands behind a range of wired, beaded and recycled light fittings, lampshades, mobiles and decorative craft for home.

 +264 61 242 222

+264 81 288 3563

 Windhoek, Namibia

Saras Sara’n

Decorative handicraft.

 +264 61 242 222 | +264 81 251 2271  Namibia Craft Centre

LEATHERWORKS Benesta Leather Works & Shoe repair Genuine leather products.

Contact Person: Benson Babish

 +264 81 482 2025  18 Pretorius Johan Building Mariental, Namibia

Bupilo

Fasionable high quality leather products.

Contact Person: Sitali Munichinga

 +264 81 371 2088  Waterfront, Luderitz, Namibia

Deon en Sien Self Satco Leather project Leather Shoes.

Contact Person: Hilda Vries

 +264 81 395 4440

+264 81 237 7391

 Satco, Karasburg, Namibia

Desert Garden Art Design

Hand crafted leather and hide handbags and products.

Contact Person: Elsie Imhof

 ldhatutale@gmail.com

Wildlife and figurative art on high-quality, hand selected leather.

 Unit 6, NDC Stalls, Dr. Aupa Frans Indongo Street, Oshakati, Namibia

Contact Person: Glenda Meinert

Meusa Muzeu Leatherwork.

 +264 61 225 424

+264 81 240 9606

Contact Person: Meusa Muzeu

 Namibia Craft Centre

 +264 81 359 3544

 Glenda’s leather art and curio boutique

 Gobabis, Namibia

Hendrik Vrey

Otjozondjupa Leather Prodcust Project

Pyrography - art burnt on leather.

Tailored leather products.

Contact Person: Hendrik Vrey

Contact Person: Eben Kandanga

 +264 61 223 705

 +264 81 242 4206

 hendrikvrey@gmail.com

 Toivo Ya Toivo Street Grootfontein, Namibia

 18 Rautenbach Street, Klein Windhoek Windhoek, Namibia  www.hendrikvrey.com

Inami / Myeisha Leather Products iNAMi locally designs and produces beautiful handmade handbags, accessories, jewellery and art.

 +264 81 448 4864  info@inaminamibia.com  1 Groot Tiras Street, Eros Windhoek, Namibia  www.inaminamibia.com  inami.namibia  @inami.fashion

Josephine’s leather work, arts and crafts Handbags, purses, wallets, jewellery and leather products.

Shilongo Leather Works

To offer the best leather products at the highest quality, to our most valuable commendable customers with only state of the art customer service.

 +264 61 306 262

+264 81 124 7533

 shilongoleatherworksnamibia@gmail. com  Shop number 5 Town Square building, CBD, Windhoek, Namibia  www.shilongoleatherworks.com  ShilongoLeather

WEAVERS Adolf Weaving Enterprises

Weaved products, mats, rugs and soft toys.

Contact Person: Adolf Goagoseb

Contact Person: Claudia Hangara

 +264 81 308 9449  +264 61 242 222

+264 81 245 7006

 Namibia Craft Centre

 annalizagoagoses@yahoo.com  108 Machiel Street, Block B Rehoboth, Namibia

 +264 61 254 304 | +264 81 129 4230

Karora Shoe Making & Tannery cc.

 Namibia Craft Centre

Contact Person: Karora Karora Klaus

High-quality Karakul wool decorative carpets, runners and wallhangings.

Dune Tannery

 +264 81 825 1271

Contact Person: Marianne Krafft

Leather hides, rugs, carpets, patchwork, cushion covers, jackets and handbags.

Contact Person: Lisa Naidoo

 +264 63 264 162

+264 81 854 2338 +264 63 264 180

 Duineveld, Kalkrand

66

Glenda’s Leather Art & Curio Boutique

Creative Industry Guide Namibia 2019/2020

 Kavango-East, Rundu

Ibenstein Weavers

 +264 62 573 524

Liiza Shoe Maker

+264 81 258 6820

Quality hand crafted leather goods.

 Namibia Craft Centre

Contact Person: Salatiel Hatutale

 www.ibenstein-weavers.com.na

 +264 81 285 7935

 Ibenstein Weavers

Karakul Wool Project Contact Person: Stefan Saayman

 +264 63 290 072  stefan.saayman@exxaro.com  Outapi, Namibia

Karakulia Weavers

Production of raw wood, wovan products, hand made wall hangings, rugs and carpets.

Contact Person: Moses Helao

 +264 64 461 415

+264 81 268 8340

 info@karakulia.com.na  2 Rakotoka Street Swakopmund, Namibia  www.karakulia.com.na

WOODWORK & CARPENTRY Carpentry & Joinery Project Timber & Wood Contact Person: Hilya Nuugulu

 +264 81 744 5199  Ondwanga, Namibia

Khaimabasen Gravestone, Wood & Craft Project Contact Person: Antonius Booi

 +264 81 811 6757  Gobabis, Namibia

Kwatoko Joinery Work Solid Wood Furniture.

Contact Person: Joseph Slyambango

 +264 81 218 9238

Mbangura Woodcarver’s Co-Operative

Community based project, woodcarving and carpentry.

Contact Person: Johannes Kambon

 +264 81 278 5667

+264 81 613 1818 +264 81 776 4590

 Rundu Shop, Usivi Main Road (near Spar), Rundu Workshop, Eugen Kakukuru Road, Okahandja Shop, Voortrekker Road, Rundu, Namibia

Mossie Furniture Manufacturing Contact Person: Moses Haipinge

 +264 81 314 6141  Windhoek, Namibia

Nakapamba Kusekashana Woodcarving project Contact Person: Johannes Mununga Matende

 +264 81 471 3719

+264 81 766 4330

 Okongo, Eenhana

Rhino Wood Workshop

+264 81 229 5788

 S9 Katima Mulilo Multipurpose Industrial Park Katima Mulilo, Namibia

 +264 81 290 1477

+264 61 247 932

 frames4@gmail.com  Eros Shopping Centre

Nelson Mandela Avenue Windhoek, Namibia

 1214 Choto Compound

Katima Mulilo, Namibia

Tikoloshe Africa

Woodcarved sculptures made from tree roots.

 +264 64 570 582

+264 81 240 0764

 Namibia Craft Centre

Windhoek Woodcarving Station

Contact Person: Lurene van As

 +264 81 464 0347

Lyambai Carpentry & Joinery Workshop

 +264 81 278 4580

For the last 25 years, Frames for Africa has been selling art and creating custom made frames. From original art to sentimental pieces, have all been retained in well chosen frames. We assist clients in making the best choices of frames and do on-site evaluations of homes and offices to ensure that frames fit the interior.

Contact Person: Joseph Slyambango

 www.tikolosheafrica.com

Contact Person: Joseph Slyambango

Frames for Africa

Solid Wood Furniture.

 Rundu, Namibia

Solid Wood Furniture.

FRAME SHOPS

Not listed? Visit our website and get listed online www.creativeindustryguide.com

Carpentry Station, independently sells and produces custom-made, handmade, wooden furniture.

 +264 81 234 8491  windhoekwoodcarvingstation@gmail. com  Corner of Gold Street and

Mandume Ndamufayo Avenue, Windhoek, Namibia

 Windhoek Woodcarving Station

Creative Industry Guide Namibia 2019/2020

67

SECTOR

4

Design: Graphic, Fashion & Product Creative Industry Guide Namibia 2019/2020

69

Fashion Council Of Namibia The Fashion Council of Namibia is a voluntary organization aimed at enhancing the development of an informed, connected and competitive fashion industry for Namibia.

Its mission is to position Namibian fashion as an authentic cultural product by creating opportunities in communities and markets.

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Creative Industry Guide Namibia 2019/2020

Fashion Forward: Exploring the value of fashion as a socioeconomic cultural expression of Namibia Fashionomics and the rise of Africa From streetwear to high-end fashion couture, Africa is increasingly recognized as an emerging fashion market with a new generation of entrepreneurial designers cross-cutting the value chain to feature on the coveted runways and magazine covers of the world.

According to the United Nations Conference on Trade and Development (UNCTAD), 2018 Creative Economy Outlook Trends in International Trade Report, design continues to be the leading sub-sector in the global market for creative industries, accounting for US $1.5 trillion in global revenues.

However, Africa’s contribution to these revenues remains statistically unknown, often cited as less than 1%. The potential is there as textile and clothing represents the

The purchasing power of the growing middle class, both

second largest sector after agriculture, yet it is one of the

on the continent and globally, has increased the demand

most neglected and underdeveloped in Africa. In order

for high-quality, vibrant fabrics, adorned detailing and

to meet this growing demand, new textile and garment

craftsmanship steeped in African cultural expression. In an

companies are constantly entering the market, offering

ever more connected world, African image-making and visual

a major opportunity for African fashion businesses

representation in popular culture has been proliferated through

across the value chain; from textile to manufacturing to

the technological advances in social media and e-commerce

marketing and content production.

platforms. There is an extraordinary energy for all things African underpinned by growing trends in sustainability and

Policy and frameworks

authenticity. The pressing question, therefore is, what the Namibian context is in terms of positioning, opportunities and

The African Union (AU), to which Namibia is a member

challenges of fashion as a lucrative creative industry; given

state, has identified cultural heritage, creative arts and

this mega potential and appeal.

businesses as priority areas in its 2063 goals. The AU’s Plan of Action on Cultural and Creative Industries in Africa

UNESCO defines fashion design as goods and services

report has reviewed the potential of cultural industries,

produced and activities carried out by companies or

including fashion. Its recommendations include efforts

individuals engaged primarily in the design of clothing,

to campaign for the sensitization of these industries’

footwear and fashion accessories. The value of the

economic dimensions and the necessity to adopt legal,

global fashion industry is estimated at US $3 trillion,

institutional and practical measures in favour of the free

2% of the world’s Gross Domestic Product (GDP) and is

circulation of African cultural products within Africa.

expected to double in the next decade, generating up to US $5 trillion annually.

Creative Industry Guide Namibia 2019/2020

71

In addition, these recommendations highlight the need to

uniforms and safety wear but offer very little innovation

improve the access to and circulation in foreign markets.

and creativity, as expected in fashion. Owning the value chain and having excellent supplier relationships for

Locally, frameworks like the Namibia Retail Sector

export quality products seem to be the winning formula

Charter can create market access and opportunities to

for successful mid- and large-scale companies, like

scale, by dedicating floor space to Namibian designed

Nakara Leather Works and Swakara.

and manufactured clothing; a model currently seen in fresh produce and consumable goods.

Bespoke fashion apparel businesses like Leon Engelbrecht Design, which specialises in textile design and leather

While the understanding and recommendations exist in

accessories, have also enjoyed commercial success with

frameworks, the practical translation and implementation

a recently launched e-commerce platform and a second

thereof does not seem to gain the necessary traction.

boutique opening in Swakopmund.

More must be done to prioritize this potential, especially considering that the creative sector showed resilience despite global economic challenges and the long-term impact of the 2008 financial crisis.

Fashion as a creative industry offers a plethora of market-driven sustainable development opportunities for Namibia across the value chain, in the form of traditional manufacturing jobs, entrepreneurship and product innovation. Life-long career paths and iconic fashion status can be achieved if pursued in the right ways.

The

Namibian

fashion

market

is

polarised

and

characterized by itemised, made-to-measure garments on the one end, and mass-produced products on the other. Traditional clothing or bespoke designs, traded through the informal cottage industry, are mostly geared towards the female market for bridal or ceremonial events. There is a tiny selection of niche market boutiques that sell once-off pieces and high-end luxury products, which are specifically geared to the tourist market. A consumer purchasing Namibian ready-to-wear clothing from a large retail space is practically unheard of. Onceoff fashion garments and accessories, therefore, remain manageable but offers little opportunity for scaling and growth.

One of the major challenges cited by designers is the inability to produce to mass scale, while also guaranteeing quality and buyers for a particular seasonal range. On the other hand, larger garment manufacturers like Dinapama Manufacturing and Supplies simply focus on garment production for given markets such as school

72

Creative Industry Guide Namibia 2019/2020

Life-long career paths and iconic fashion status can be achieved if pursued in the right ways.

Fashion retail and market demands

Natural resources, indigenous techniques

Fashion as a creative industry offers a plethora of

and wearable tech

market-driven sustainable development opportunities for Namibia across the value chain, in the form of traditional

At its current rate, the fashion industry

manufacturing jobs, entrepreneurship and product

is notoriously unsustainable – Western

innovation. Life-long career paths and iconic fashion

seasonal on-trend production and ubiquitous

status can be achieved if pursued in the right ways.

availability from the sketch to the shopfront window is produced at a dizzying pace. In contrast,

The scaling dilemma is, however, not specific to Namibia.

design inspired by indigenous knowledge, using natural

The majority of Africa’s cultural industries are structured

resources and craftsmanship techniques, help to cement

around project–based micro enterprises, with few large

an aesthetic of differentiation in a world hungry for new

global players. These micro firms need to operate in

authentic cultural expression. In a globalised world,

global markets and are in need of financial and business

consumers are increasingly intrigued by the freedom of

support to ensure their economic and social value, while

looking different. A begging question then is; what might

ensuring that they retain their local specificity.

solar-powered clothing made from mahangu-based fibre look like and how would it work in the Namibian climate?

One of the major challenges that Africa must first confront

While this sounds like sci-fi rumination, it certainly

is that of production. Serious attempts should be made to

opens conversations for the integration of sustainable

help the African producers focus not only on quantity but

product development, robotics and innovation in a rapidly

also on quality as, in all things, African cultural products

changing world. Specialised Namibian products that tell

in the African and international distribution networks,

a unique story are a worthy pursuit, as we do not possess

and part of Africa’s competitiveness in the world will be

the ability to compete in terms of generalised fashion

determined by their quality.

and garment production.

Fashion retail is still at a very early stage in sub-Saharan

Globally, Namibian jewelry and fashion designers have

Africa as Africa’s retail environments are some of the

already made some inroads in that regard.

toughest in the world, given that 95% of the landscape is still made up of traditional trade outlets.

In 2018, showcasing an ostrich shell necklace designed

by Karin le Roux from Omba Arts Trust in collaboration

Limited national market demand across the African

with Ju/’hoansi women from the Nyae Nyae Conservancy

continent, in turn, limit economies of scale required for

Namibia was represented at the Commonwealth Fashion

the local commercialisation of fashion production. This

Exchange. Livia Firth, organizer of the event that drew

was seen in the case of My Republik, Namibia’s first

together representatives from London’s Fashion Week

home-grown fashion retailer. At the time, My Republik was

and the greater Commonwealth noted that “The project

heralded for not only “providing the country with quality,

is particularly timely as a global wave of interest in

talent and creativity” but also “showing everyone in Africa

handmade products and authentic luxury causes a

and the world that there is more to us as Namibians and

reassessment of the artisan fashion trades.”

that nothing is impossible.” The company had plans to scale by creating market opportunities across Africa and

Nicola Conradie is a celebrated Namibian designer who

opening branches across SADC. Unfortunately, the brand

has showcased at the Mercedes Benz Fashion Week in

closed its national retail stores and Witvlei factory in May

Berlin and the Mozambique Fashion Week. Earlier this

2018, four years after launching, citing the economic

year, she launched her boutique in downtown Windhoek

downturn as the reason.

as well as a one-on-one mentoring program for young

Creative Industry Guide Namibia 2019/2020

73

fashion designers, sharing valuable experiences in design,

with the GIZ that promote the use of wool in innovative

retail and social projects. In order to create greater global

product development.

impact, the Namibian fashion would require economic incentives, favorable policies and structural support.

#Fashiontribes, the first–ever fashion exhibition by the Namibian Arts Association, opening in August 2019.

Skills and capacity Showcasing a wide variety of styles linked to African Fashion design and related studies are available through the

identity from casual apparel to functional fabrics, the

College of the Arts and the University of Namibia, while clothing

collection aimed to gauge the evolution of fashion in

design and production as vocational training is available through

the Namibian context - opening discussions on African

the Namibia Community Skills Development Foundation

culture, fashion identity and social consciousness.

(COSDEF). Fashion design will also be offered by the highly anticipated Limkokwing University of Creative Technology due

Fashion Futures, a collaborative project in partnership with

to open its doors for full academic intake in 2020.

the British Council, featuring Namibian fashion designer and influencer, Leah Misika, and seeking to explore and

Thus, there is major scope for specific career opportunities,

reveal undiscovered talent across the fashion sector in

but local training courses have been criticised for being too

Southern Africa and the United Kingdom.

simplistic in practical training, as well as not placing sufficient emphasis on entrepreneurial business studies, manufacturing,

The Museums Association of Namibia is working towards

markets and distribution of fashion. Self-employment remains

launching the Fashion Museum of Namibia, which will

the biggest “employer” as there is no real formal fashion market

showcase a collection of historical cultural artefacts,

to absorb graduates.

clothing, and accessories from Namibian communities at the turn of the 20th century.

The potential of social impact and transformation of livelihoods remains a worthy goal over industrial scalability if this can be addressed.

Traditionally, fashion and textile industries remain a high employer for women. Locally, this is prevalent in women-owned social enterprises like Casa Anin, established in 1987, and Penduka Development Trust in 1992, both operational to-date.

Penduka provides work for about 515 women through products such as storytelling embroidery and African batik. The site, located in Katutura, further extends into a self-sustaining ecotourism model.

Industry platforms, partnerships and initiatives In 2017, the Ministry of Industrialisation, Trade and SME Development (MITSMED) launched the Growth Strategy for the Namibian Jewelry Industry and Coloured Gemstone and Associated Value Chains. The program is part of the ongoing efforts to reinforce Namibia’s economic growth and is similar to initiatives seen through partnerships

74

Creative Industry Guide Namibia 2019/2020

Lastly, the Fashion Council of Namibia is in the process of conducting a baseline research study whose aims, among others, are to identify the main industry players across the fashion value chain. The findings will be published online, following a strategic session facilitated by the National Arts Council of Namibia. Annual industry events such as the Namibian Manufacturers Association Awards, Windhoek Fashion Week, Simply You Fashion and Lifestyle Awards and the recently launched Katutura Fashion Week are all significant attempts to create industry-led platforms and recognition for professionals across the fashion value chain.

Fashion forward The global fashion market is predicted to double in the next decade, offering an unprecedented creative socioeconomic opportunity for Namibia and other African countries.

To capitalize on this growth however requires Government, private sector and community-based projects to align their synergies in a more strategic manner. For instance, combining

manufacturing,

sustainability,

authentic

cultural expression and communities, to create inclusive and strategic market access.

This in turn will lead to Namibia’s fashion industry becoming a major contributor to the overall creative economy.

Owning the value chain and having excellent supplier relationships for export quality products seem to be the winning formula for successful mid- and large-scale companies.

listings

LISTINGS

77 GRAPHIC DESIGN 83 APPAREL &

TEXTILE DESIGN 83 FASHION DESIGN 85 PRODUCT DESIGN

76

Creative Industry Guide Namibia 2019/2020

GRAPHIC DESIGN

Andrew Bishop

 chris10design@gmail.com

Contact Person: Andrew Bishop

 Chris10creations

 andreaselifas@gmail.com

Clara Schnack

 Hamakari Flats Windhoek, Namibia

 Andr3wbishop

 www.claraschnack.com

BM Design Studio

Cyan Lights

 +264 85 695 0285  betty@bmdesign.studio bettysibeso@gmail.com  Valley St. Eros Windhoek, Namibia  www.bmdesign.studio

Outdoor and way-finding design.

 +264 81 402 2236

Contact Person: Michelle du Preez

DuoCreations CC

 +264 81 263 0002  bywh.odesigns@gmail.com  Bywh.odesigns

Chillipink Creative

 +264 81 843 1969  marisa@chillipinkcreative.com

 AbsIntellectInvestment.cc

Dilo Multi Trading cc

 Effesle Street Windhoek, Namibia

 www.andreahorsthemke.com

 absintellectinvestment.cc@gmail.com shangetavapopya@gmail.com

 7338 Rhino Park Windhoek, Namibia

Michelle is a Freelance Graphic Designer and Owner/Creative Director of Bywh.oDesigns, crafting visual identities for creative, modern brands through minimal designs.

Contact Person: Marisa van Staden

 +264 81 433 7029

 angelo.haak2@gmail.com halogenfive5@gmail.com

 bruce.mighty49@gmail.com

 Windhoek, Namibia

Contact Person: Eve Shangheta

 +264 81 201 5698

Bywh.oDesigns / Literally Brand New

 ah@andreahorsthemke.com

Graphic designing and printing services.

Contact Person: Angelo Haak

Contact Person: Meundu Bruce Kandovazu

Chillipink Creative is a Graphic Design consultancy specialising in design for print and digital branding and advertising.

Abs Intellect Investment cc

Graphic design solutions.

 BM Design Studio  @BMDesignStudio  @bmdesignstudio

Contact Person: Andrea Horsthemke

 +264 81 421 2805

 cm@iway.na  Windhoek, Namibia

Contact Person: Betty Sibeso

Dis mil int, officid ellabor eraeroribus maximen dellametIcimende bissinu llique cus ide nuscius. At mosanim quo blaccum quatis maioressum et prae eati iuscienis derum ut magnihil excepelic te volupis qui de ea sit, et omnimint esequametur?

Independent graphic designer.

 www.behance.net/Andreaselifas

Design and creative studio that specialises in graphic design and digital marketing.

Andrea Horsthemke

 +264 81 494 1520

Art direction, graphics desing and photography.

 Pionierspark Windhoek, Namibia

 Dilo Multi Trading

Graphic design for advertising & print media.

Contact Person: Ricarda Lok & Sabrina Lok

 +264 61 308 637  duocreations@iway.na  3 Brock Street Windhoek, Namibia  www.duocreations.co.za  Duo-Creations Namibia  @Duo Creations Whk

Empire Studios Contact Person: Katjito Jaruka

 www.chillipinkcreative.com

 +264 81 835 9597

 Chillipink creative

 kjaruka@gmail.com

Christine’s Creations / Chris10creations

Corporate Identity elements, design & layout of all POS etc, online adverts.

Contact Person: Christine van Zyl

Creative Industry Guide Namibia 2019/2020

77

nimbleadaptivedesign

brand | print | digital | animation 081 42 1 2805 ah@andreahorsthemke.com andreahorsthemke.com

 @info_arts

* www.behance.net/lisavoigts Haiko Bruns

FeathaGrafix

At FeathaGrafix we design everything from brochures, to websites, to annual reports. We particularly love doing logo and corporate identity design as this gives us the opportunity to design something that will represent our client’s company in a way that is eye catching, attracts customers and provides a professional image of the company in the market place. Regardless if you are a start-up or a well-established business, our 16 years of experience will provide you with an approach that creates a solid foundation for success and a unique identity for your business. FeathaGrafix is meant to bring something fresh and fun to clients who appreciate good design.

 IntouchDesigns

 +264 81 250 4121

Jurietta Otto

 haikobruns@gmail.com  29 Edison Square, Southern Industrial Windhoek, Namibia

Kempel Kreativ

Graphic and Website Design/Development, Software Installation/Upgrade.

Contact Person: Duke Kempel  dukekempel@gmail.com kempelkreativ@gmail.com  Mobile Office Windhoek, Namibia

 Feathagrafix

G2G graphics pty Ltd

 KempelKreativ  @kempelkreativ

Graphic design

Contact Person: Matheus Aktofel

Branding, Graphic Design, Social Media Management.

Contact Person: Gabi Woker

 +264 81 295 5799  gwoker@iway.na  28 Pullman Street, Windhoek North Windhoek, Namibia

Graphic Arts

KunsHuis Graphic Design

StreetLeader CreativeTM

StreetLeader CreativeTM also known as “The Creative Rebellion” ,is an exciting above and below the line advertising & freelance consulting agency, founded in 2016. Our goal is to synchronise your business objectives with our creative objectives in order to add value to your brand. Our passion is rooted in the drive to push boundaries with your brand and achieve satisfying results.

Contact Person: Oshoveli ‘Steve’ Shipoh

 +264 81 637 4497  osho@streetleaderc.com

Commercial Artist.

 Windhoek, Namibia

Contact Person: Lisa Voigts

 www.streetleadercreative.com

 +264 81 141 4699  info@ga-studio.de lisa@nomtsas.com

 +264 81 651 2900

 Danie en Jurietta Otto  @Jurietta84

 www.feathagrafix.com

Gabi Woker Design Studio

Contact Person: Jurietta Otto

 Farm Osmoor Grootfontein Grootfontein, Namibia

 Steph@feathagrafix.com

 Moxa gmp’s finest

Design and Branding.

 drotto@iway.na juranie.otto@gmail.com

 +264 81 128 2200

 768 Ondangwa Ongwediva, Namibia

 29 Edison Square, Windhoek Windhoek, Namibia

I do graphic consulting as well as book binding and repair.

Contact Person: Stephanie Faul

 maktofel@gmail.com g2ggraphics2013@gmail.com

 haikobruns@gmail.com

HB Graphics

 Michaelistreet Hevo Court 1 Avis Windhoek, Namibia

We do book binding and book restoration and repair, also other graphic services.

 www.ga-studio.de

Contact Person: Haiko Bruns

 Lisa Voigts Graphic Arts

 +264 81 250 4121

KunsHuis started in 2010 by Nelett Loubser.

It started out of a desire to create a life enjoying every day, doing what I love, design and creativity. I am now also a proud wife and mother wanting to show my children to use their talents and dreams to create the life they want. My hope is that through the work here at KunsHuis I can also inspire YOU to live a life full of creativity, fulfilling hopes and striving for a more simplified life.

Contact Person: Nelett Loubser

 +264 81 236 6912  kunshuis@gmail.com khontwerpe@gmail.com  103 Tunschel Street, Pioneerspark Windhoek, Namibia  www.kunshuis.com  Kunshuis Design

Lazarus A.Willhekkie

Graphic Design: Brand Identity development Concepts Advertising services, Communication and marketing Multimedia Design technology Web Development and Software Development.

 +264 814977077  lazarus252@gmail.com

Creative Industry Guide Namibia 2019/2020

79

CREATIVE BUSINESS SOLUTION

CLIENT BUDGET

StreetLeader CreativeTM also known as “The Creative Rebellion” ,is an exciting above and below the line advertising & freelance consulting agency, founded in 2016. Our goal is to synchronise your business objectives with our creative objectives in order to add value to your brand. Our passion is rooted in the drive to push boundaries with your brand and achieve satisfying results.

Our services on offer: ART DIRECTION & DESIGN

StreetLeader Creative osho@streetleaderc.com | +264 816374497

VIDEOGRAPHY & DIGITAL DESIGN

CORPORATE IDENTITY & BRAND STRATEGY

Link Media

Web & Graphic Design.

Contact Person: Jonathan Steinbach

 The Hamlet on Avis Michaelis Street Windhoek, Namibia

 +264 81 306 6909

 Njami Creative  @njamicreative

 jonathan@linkmedia.pw

OAK Product Design

 Klein Windhoek Windhoek, Namibia  www.linkmedia.pw  Link Media Nam

Lux Graphic & Web Design

Multi-design services company offering a full array of services to help you with your online presence.

Contact Person: Jonathan Louw

 +264 81 156 0383  jonathan@luxdesigned.com  26 Riverside Ave, Kramersdorf Swakopmund, Namibia  www.kiss-of-light.com

Nanewo Media Solutions

Graphic Design and video productions.

 +264 85 339 3004  anandjembo@gmail.com  Erf 1255 Ignatius Loyola Street Katutura Windhoek, Namibia

3 dimension and 2 dimensional design.

 Kaptein Mdona Nandjembo

Contact Person: Omagano Kankondi

Touchink CC

 Oakproductdesign@gmail.com Akankondi@gmail.com

Corporate idendtity design and branding.

Contact Person: Raineto Zealand

 28 Banting Street Windhoek, Namibia

 graphiclab87@gmail.com

 www.oakproductdesign.com

 Stall 12 Khomasdal Industrial Park Windhoek, Namibia

Pyra Media Studio CC

Graphic design for advertising and digital marketing Contact Person: Fofotolela Naftal

 +264 81 833 7830  pyra.co@zoho.com naftalfoto@outlook.com  Rocky Crest Windhoek, Namibia

TURIPAMWE DESIGN

Graphic design, brand and visual communication development.

Design education. Creative strategy and consultation services.

Contact Person: Tanya Stroh

 PYRA NAM  @PYRA_NAM

 tanya@turipamwedesign.com hello@turipamwedesign.com

 nanewoms@gmail.com

Salix Trading Enterprises

Graphic, video design and branding services.

 15 Bismarck Street Windhoek, Namibia

 Unit 92 Westlane Pionierspark Windhoek, Namibia

Contact Person: Carlos C. Jorge

 www.turipamwedesign.com

 Nanewo

 +264 81 332 2076

Neptic Investment Group CC

 george.ito@hotmail.com

 Turipamwe Design  @turipamwedesign  turipamwedesign

 City Center Building, Floor 8 Windhoek, Namibia

Ursa Minor

Contact Person: Ndeya Taapopi  ndeyataapopi@gmail.com

 Salix Trading Enterprises

Contact Person: Ramaotulie SallahMuhammed

 1925 Hegner Street Pionierspark Ext 1 Windhoek, Namibia

SV CREATIVE ZONE

Contact Person: Michael Gawnab

Graphic design and web development.

 www.nepticgroup.com

Graphic Designer. Mug Printing. Event Decor, Photos, Kids Parties, Baby Showers, Photo Albums, Logo and Business Card Design, Invite Designs and everything else you need.

 Neptic Group  @nepticgroup  @nepticgroup

Contact Person: Salomie Vermaak

Njami Creative

 salomiev@gmail.com

Digital marketing, UI & UX design and graphic design.

Contact Person: Marcelle Eloff

 +264 81 442 8204  njamicreative@gmail.com marcelleeloff@gmail.com

 +264 81 251 0080

 Kleine Kuppe Windhoek, Namibia  www.svcreativezone.com

Graphic Design.

 +264 81 265 1976  myursaminor@gmail.com ramatoulie.tectura@gmail.com  Klein Windhoek Windhoek, Namibia

Ute Design & Marketing CC Graphic Design Services.

Contact Person: Ute Nujoma

 +264 81 308 1895  utedesigns@icloud.com

The Family printing solution cc Graphic Design for advertising.

Contact Person: Andrew Andjembo

 43 Rhino Street Windhoek, Namibia  Ute Design & Marketing

Creative Industry Guide Namibia 2019/2020

81

 @ute.design.and.marketing

APPAREL & TEXTILE C Fashion Namibia cc

Charity Fashion is a Namibian founded Garment manufacturing business. It manufactures safety wear, school uniforms, sports wear and personalist attire.

Contact Person: Beverly Kaposiao

 +264 81 481 7315  charityfashioncc@gmail.com  Independence Avenue, Katutura Windhoek, Namibia  www.charityfashion.com  Namibian Fashion  @NamibianFashion  charity fashion namibia

Logo Embroidery

Embroidery and printing.

Contact Person: Henko Kruger  Kruger_henko@yahoo.com  1238 Ondangab Street Kleine Kuppe Windhoek, Namibia

SMG Trading CC

Design, branding and printing for apparel.

Contact Person: Julius Adolf  believejulius@gmail.com julius.adolf@gmail.com  Erf 1086 Shinime Shiivula Street Ondangwa, Namibia

 Otjiwarongo, Namibia

 fshithigona@hotmail.com

BeYourself Creations CC

 Oshakati, Namibia

Clothes and jewerly.

Contact Person: Suoma Shalonga

Contact Person: Hanna Xoagus

 +264 81 366 5573  +264 81 491 3916  pumashinene@gmail.com  Windhoek, Namibia  Erf 1508, Omboma Street Freedomland Windhoek, Namibia  Puma Suoma Shalonga  @Pumasim

Contact Person: Hafeni Frans

 +264 81 212 7181  hjrfrans@gmail.com mabelihafeni@gmail.com

Contact Person: Cynthia Schimming

 Richard Kamuhuka Street Windhoek, Namibia

Design and Manufacturing.

 +264 81 112 47131  cynschi@afol.com.na

 Hafeni Frans  @Hafeni Frans  @Hafeni Frans

 4109 Hans Dietrich Gensher Street Khomasdal Windhoek, Namibia

Honeycassie Designs

 Cynthia Schimming  @Cynthia Schimming

Contact Person: Quin-leigh Hammond

C-Victory Investments Contact Person: Chrestine Shikongo

 +264 81 843 6760  shikongo.chrestine@gmail.com

Design and creative studio that specialises in graphic design and digital marketing.

 +264 81 882 3892  honeycassie@gmail.com  Windhoek, Namibia  Honeycassie Designs  @honeycassiedesigns

 Windhoek, Namibia

Jazema Work

Deon Angelo

Contact Person: Marliza Mutirua

Fashion designer.

Contact Person: Deon H. Mathias

FASHION DESIGN

 helao.mathias@gmail.com

 +264 81 240 7376

 Swakopmund, Namibia

 +264 81 257 9241  Windhoek, Namibia

Josephine Simataa Contact Person: Josephine Simataa

 +264 81 630 8425

Contact Person: Andenette Cloete

 Deangelo Mathias  @deonangelo

 +264 81 229 3625

Elizabeth ipinge

Kanny Fashion Design

 Windhoek, Namibia

Contact Person: Elizabeth Iipinge

Contact Person: Kanisia Ketshomuninga Shimooshili

Angelina Edward Contact Person: Angelina Edward

 +264 81 204 7430 Aquila Mbuende Contact Person: Aquila Mbuende

 +264 81 480 1160

82

HF

C’est Moi Clothing Manufactureres

 SMG Taliboloma  @smgtradingcc

Andenette Cloete

Hanna Xoagus

Creative Industry Guide Namibia 2019/2020

 +264 81 252 6144

 Windhoek, Namibia

+264 81 387 5574

 +264 81 290 1515

 enipinge@gmail.com

 Oshakati, Namibia

 Windhoek, Namibia

Findje Shithigona Contact Person: Findje N. Shithigona

 +264 81 772 5841

Klementia Tjipanga Contact Person: Klementia Tjipanga

 +264 81 484 8214

Design for change Turipamwe is a creative agency specialising in communication design for sustainability and transformation. As a studio collective we house diverse design and creative skills, and years of experience to focus what we like to call ‘high impact’ work. For us, high-impact projects are; forward-thinking, perspective-shifting and strategic about the impact they intend to make.

These projects reflect a determination to play a critical and active part in influencing societal futures.

We are motivated to amplify our clients brands and articulate their important work because we realise that change is extended when it is effectively communicated.Â

turipamwedesign.com

 Gobabis, Namibia

Contact Person: Ella Tjatindi

 Windhoek, Namibia

Knockes Trading Enterprise

 +264 81 274 0405

OYE Naanaa Project

Magdalena Sewing

Contact Person: Maria Oye Katuta

Needlework.

Contact Person: Regina Kock

Sewing and fashion design.

 +264 81 630 9323

 +264 81 333 4555

Contact Person: Magdalena Ivula

 Gobabis, Namibia

 +264 81 274 3742

Kondilo Investment

 Ondangwa, Namibia

Contact Person: Beata Sakaria

Martha Mina Gei-nus

 +264 81 470 8018

Contact Person: Martha Mina Gei-nus

Contact Person: Safine Mbuende

 nakambale29@gmail.com

 +264 81 202 9941

 +264 81 305 6652

Lappies Fashion House, Zenande Consultancy

 Windhoek, Namibia

 Windhoek, Namibia

Monica Shuukwanyama

Sean Cloete

Contact Person: Monica Shuukwanyama

Contact Person: Sean R. Cloete

 oyeluv@gmail.com  Windhoek, Namibia

Contact Person: Adelaide Hanse

 +264 81 639 0875  adelaidehanse@gmail.com  Keetmanshoop, Namibia

Leap Holdings Pty Ltd

 Eenhana, Namibia

Namibian Women Talent Project

Community sewing traning project.

 +264 81 494 5168

+264 81 739 9342

 srcloetedesign@gmail.com  Rehoboth, Namibia

Garment manufacturing

Contact Person: Hambeleleni Shikongo

Contact Person: Malulu Angula

 +264 81 722 8780

Luxury womenswear.

 +264 61 247 600

 Eenhana, Namibia

Contact Person: Taati Sibolile

 malulu@leapnamibia.com

Ndapandula Jacobina Kashanu

 taati@taatisibolile.com

 5 Eggers Street, Avis Windhoek, Namibia

Contact Person: Ndapandula Jacobina Kashanu

 www.leapnamibia.com

 +264 81 330 7343

Linda Hamunyela

 nkashanu@yahoo.com

Contact Person: Linda Hamunyela

 Windhoek, Namibia

 +264 81 221 0717

Nelago Tailoring Trading

 talatalalii.tl@gmail.com

Contact Person: Aina Hakko

 Okahandja, Namibia

 +264 81 252 2722

Loini Iizyenda

 Ondangwa, Namibia

Contact Person: Loini Iizyenda

Nesley Nguase

 +264 81 810 7936

Contact Person: Nesley J. Nguase

 loininyanyu@gmail.com iizyendaL@gmail.com

 +264 81 344 6012

 Windhoek, Namibia

Lotapuye Hamukoshi Contact Person: Lotapuye Hamukoshi

 +264 81 211 5238  Oshakati, Namibia

Maandero Sewing

84

 +264 81 661 7741

Safine Mbuende

Creative Industry Guide Namibia 2019/2020

 nesley25nguase@yahoo.com  Ongwediva, Namibia

Nolsie’s Creation Trading Contact Person: Magrietha E. Isaacks

 +264 81 298 9168  grethaisaacks@gmail.com

Taati Sibolile Designs

 Windhoek, Namibia  www.taatisibolile.com  @taatisibolileofficial

Teresia Tebele Contact Person: Teresia Tebele

 +264 81 776 6036  Windhoek, Namibia

Twapewa Amutenya Contact Person: Twapewa Amutenya

 +264 81 466 7861  twapewaamutenya@gmail.com  Windhoek, Namibia

Vehy-licious Sewing Contact Person: Vehinda L. Tjatindi

 +264 81 298 4994  vehy4christ@yahoo.co.uk  Windhoek, Namibia

PRODUCT DESIGN Alementom

We design, create and develop 3D models for our clients. We also offer services such as website & design and event planning.

Contact Person: Erwin Tietz

 +264 81 704 7484  info@alementom.com  Windhoek, Namibia  www.alementom.com

GadgetBoy 3D Solutions cc

3D printing service / sale of 3D printers.

Contact Person: Grantham Ockhuizen

 +264 64 460 404  info@gadgetboy3d.com grantham@gadgetboy3d.com  Makarios Center, Cottage Avenue Windhoek, Namibia

LEON ENGELBRECHT DESIGN

Leon Engelbrecht Design is a small, Proudly Namibian Design Studio that creates artisan handcrafted and hand sewn leather goods, creates unique Namibian inspired patterns that are printed on textiles, and provides professional Interior Design Services for private and corporate clients.

It is a privilege to employ and train Namibian individuals who I want to empower, upskill, and assist in creating the best versions of themselves they can possibly be.

All leather items are individually handcrafted and sewn by hand using traditional hand tools and methods.

We also manufacture all items in our shop in Maerua Mall in the capital city, Windhoek.

Our focus is to create items and products that last, that are not mass produced. We are proudly part of the ‘maker’s movement’ worldwide that reintroduces you to the maker - so you know where, how and by whose hands your products get made.

 www.gadgetboy3d.com  GadgetBoy 3D  @GadgetBoy3D  gadgetboy3d

hand-printed and painted fabrics and postcards.

Contact Person: Andrew & Micha Weir

 +264 81 235 8365  maidinafrica@icloud.com maidinafrica@telkomsa.net  40 Tal Street, Old Breweries Complex Windhoek, Namibia  www.maidinafrica.com  Maid in Africa

Tabled Namibia

TABLED is a furniture company that crafts design furniture made with Namibian natural materials.

Contact Person: Adriaan van Wyk

 +264 81 379 2625

 +264 81 251 2169

 mail@tabled-namibia.com

 leon@leonengelbrecht.com

 HTS-Bau Industrial Park Iscor street, Northern Industrial Windhoek, Namibia

Maerua Mall, 1st Floor (Corner Shop between Woolworths & Pannarottis), Centaurus Street, Windhoek, Namibia

 www.leonengelbrecht.com

www.creativeindustryguide.com

Maid in Africa

Contact Person: Leon Engelbrecht



Not listed? Visit our website and get listed online

 www.tabled-namibia.com  Tabled  @instagramhandle

Creative Industry Guide Namibia 2019/2020

85

There might be unpolished gems of talents and artists out there that could excel with some more formal training.

- John Max

SECTOR

5

Film, Tv, Radio & Photography Creative Industry Guide Namibia 2019/2020

89

Joan Biwa

I have never seen a more determined and ingenious individual, than a filmmaker with a story to tell. Their passion and hustle often exceed the finest entrepreneurs I have worked with in

Ms. Joan C Biwa is a Director at BraveBird Research. BraveBird is

other industries. Filmmakers have an undeniable ability to

a collective that uses research

efficiently collect and organize the required resources and

to empower the creative indus-

go against all odds to get the production done and vision

try. After spending eight years in

realized. One of the challenges that the industry faces

the financial services industry, Joan decided to pursue a career in Creative Industries in the role

however is that most filmmakers are better at selling their stories than selling themselves.

of Business Development at the company.

Her passion lies in solving problems by tapping into her expertise in the financial services and her desire for the development of society through the arts.

Much of the entrepreneurial spirit is wrapped up in the initial production. Once the final scene is shot, ‘it’s a wrap!’. In most cases the marketing and distribution of productions are left to chance and on a macro level the commercial viability of the industry is not optimized as it could be.

This could be caused by a combination of factors such as the incorrect perception that the industry is merely an outlet for creativity and the continued silo mentality between creative practitioners and business that misses the opportunity that lies in appreciating film as a commercially viable product.

Namibia has just under 70 filmmakers, comprising of companies that facilitate international productions, content producers, editors and dedicated equipment providers. Like most industries, it features a few stalwarts, a small group of stable players and the occasional one hit film wonders. Most film companies are permanently manned by one or two individuals, hiring the bulk of its workforce on a temporary basis for productions.

A review of the current landscape reveals that less than 30% of film companies have active and operational websites. There is a stronger presence on newer social media platforms (probably because of the lower cost to join these networks) such as Facebook, LinkedIn, YouTube and Twitter. However, visibility on these is still

90

Creative Industry Guide Namibia 2019/2020

joanbiwa

Formalization

relatively low. Facebook has 34% representation, whereas LinkedIn is the most popular at 48%. It is interesting to note however that it is often the Filmmaker’s profile that is available on LinkedIn and not the company. Only 40% were listed in last year’s edition of the Creative Industry Guide.

Initiatives such as the Namibia Film Shop have made progress in creating a platform where a collection of local productions can be easily accessed. Currently the collection boasts 60 local productions and requires continuous updating.

Despite these challenges the industry remains a significant catalyst for the wider creative industry. It not only facilitates the growth of other disciplines such as the visual and performance arts, but it is a significant contributor to tourism, transport and hospitality in Namibia. The development of major Namibian brands such as Top Score, Tafel Lager, Nammilk and MTC, just to mention a few, depend

Filmmakers have an undeniable ability to efficiently collect and organize the required resources and go against all odds to get the production done and vision realized.

on the strength of their presence and film plays a major role in facilitating this through the production of commercials.

Along with that the film industry creates and sustains an ecosystem of graphic design, animation, equipment, casting, costume designers and makeup professionals and companies.

Further growth and stimulation of the industry requires a multipronged approach and one of the ways in which this can be brought about is a greater effort at formalizing the industry.

Formalisation involves the process of creating structure and developing a systematic approach by providing clear guidelines and guidance in terms of process. Ideally put; ‘The act of organizing something according to a system or rationale’

What would the ideal film scene look like?

Namibian film companies would be distinguished brands that have a strong on and offline presence, characterized by websites, social media presence and local market visibility.

The film industry would comprise of not only strong SMEs but also large companies that can be benchmarked to companies in other sectors. Film companies would be active participants in the economy with the ability to not only negotiate, but set competitive international rates. Film companies would attract and retain top talent and would be able to offer qualified professionals to international productions. Film practitioners would be suitably skilled to compete with their regional counterparts for technical jobs.

The trends in the industry would be known and recognized

•

Setting goals for training and development for film

in the Namibian industry and the industry viewed and

companies, rewarding and recognizing companies at

known as a positive contributor to the economy in terms of

different levels

GDP and employment. The industry would be protected by

•

the relevant intellectual property laws and local agencies.

Creating a more competitive process in terms of funding opportunities and acknowledging different funding needs of companies and individuals at different levels

There are currently various bodies in Namibia that

•

Developing a regular system for acknowledgement

have sought to formalize the industry in the hope of

and recognition highlighting film companies that attain

organizing and representing filmmakers. The Namibia Film

certain standards

Commission (NFC) with its mandate through the Film and Video Development Fund has set out to establish a film

The process of formalizing is not an easy one and does

industry in Namibia by enabling and promoting local film.

come with its own set of challenges. It is often met with resistance because rules and guidelines are perceived as

The NFC acts as a promoter for Namibia as an attractive location

crushing to creativity and freedom. However, the long-term

for international film productions. Over the last six years, the

benefits far outweigh the extra work that is required.

body has funded approximately forty local productions and facilitated more than 400 international productions through the

Formalisation elevates the quality of film production and

provision of film permits. It is encouraging that approximately

allows companies to charge competitive rates making the

68% of local filmmakers are listed on the NFC database. In

industry a more sustainable employer and improving the

addition, the Erongo Filmmakers Association represent and

supply of productions. It also provides a form of protection

advocate the interests of filmmakers on a ‘union’ type level, while

to existing filmmakers as the opportunity for funding and

the Filmmakers Association of Namibia (FAN) is a recognized

development requires commitment to attain. It further

body that represents filmmakers interests, especially those of

makes the industry more attractive and provides a greater

producers and directors.

sense of respect. It enables better research and the understanding of key insights into the industry which allow

These bodies currently provide access to filmmakers through can develop, much more is required in order to elevate the industry into a more competitive and sought-after player.

This can be achieved through (not limited to): •

Creating a platform for accreditation – creating a minimum standard for those that can be recognized as film companies

•

Setting a standard for marketing of film companies and recognize those who meet certain standards

•

Segmenting existing filmmakers and introducing a development pipeline. For example, individuals graduate from being filmmakers to film companies to facilitators

•

Setting a standard for marketing and distribution of productions

92

Creative Industry Guide Namibia 2019/2020

anbw

their databases, and even though the opportunity for funding

associations to advocate effectively for the industry.

94

Creative Industry Guide Namibia 2019/2020

Understanding!

- The key to Creative Success We are all – every single one of us – both creator and consumer (and ultimately clients). Just take a step back and picture the immediate world around you.

You will more than likely agree (whether you like to or not) that the overriding feature in our lives in the last decade has become the mobile phone – more specifically the smart phone.

We use it for everything and when the battery dies or we misplace it, we go into various degrees of shock and feel…well… cut off from the ‘world’. For many the first thing they reach for in the morning is their phone and they squint through their social updates as the

Karl Terblanche Karl Andre Terblanche is an internationally recognized photographer and has had images published in the National Geographic, The Mail on Sunday, The Observer (UK), Le Figaro (France) among others. In addition to the above he is prolifically active as a commercial photographer and videographer in Namibia since 2006.

bright screen burns semi-permanent images into their retinas. The same applies when turning in for the night. A quick glance at the phone is the last activity for many.

Then, who hasn’t seen drivers irresponsibly and intently staring down into their laps without a thought to traffic, reading messages or doing a bit of online shopping while driving. Or families crowded around a dinner table, miraculously conveying food from their plates to their mouths with varying degrees of success, while engrossed in whatever ad, news item or funny video of cats has caught their attention. Or, maybe they are simply exchanging information on the most basic level – conversation between friends. All the above scenarios transpose handily into all aspects of our daily life and have become a part of it. We are all consuming and creating some form of creative content. And the need and desire is set to grow.

Add to this the daily content we see on billboards, on our television screens, flyers in the post or wedged into our windscreen wipers (a

Creative Industry Guide Namibia 2019/2020

95

quick and easy to create creative content or that you can

countless websites we visit, art we look at on walls, the

just offer up any old drivel, as the local audience is ‘not

small ads (both print and digital), slogans on stickers,

quite there yet’ in terms of creative savvy!

number plates, and even graffiti, packaging, love notes, post cards and almost any other conceivable thing you

In order to clarify how the above has influenced the local

can think of….

market, let’s introduce some characters.

Throw in the radio and podcasts and you can see where

First, we’ll look at some clients (remember we are

this is heading…

all clients, consumers and creators of creative content):

Take the basic daily personal description above and mix in the business world. Digital platforms for marketing is

1. A respectable portion of ‘old hands’ that still don’t

the norm and interactivity in Namibia is certainly growing,

see that creative content as important, even if it is to

while a number of businesses are embracing and indeed

future proof their presence and brand. There are some

have embraced it already. Not just to entice and service

surprisingly big companies who still fall into this category.

international clients, but on a local level. Great – progress!

The longer they wait, the harder it is to gain prominence and the easier it is to fall into the next category below.

Well yes, but there are some problems.

2. Those who have seen the value and benefits that There’s been a minor stampede in people jumping onto

creative content creation can bring their business or

the content creation bandwagon – both creators and

cause, but don’t understand what goes into the process.

consumers alike, this is especially true for photography –

And like anything in life they don’t quite know how to use

but some have missed the point, or indeed the value and

and control the power this can bring them. Prime targets

possibilities of reach, they literally have at their fingertips.

for the wannabe fly-by-night cowboy creators out there

This is where things get messy and people simply don’t

(for the creative newbies, once bitten you’ll never want to

have an understanding of what is and should be expected

trust another creative pitch again).

and delivered.

3. We also have that infuriating breed – you know the We’ve all heard the expression once bitten twice shy.

type all too well!

Well, hold on tight, here goes!

brilliant creative content and all the benefits it brings,

The ones who see the benefits of

but are not willing to reward the creators proportionately.

96

The biggest problem on a local level is the lack of

Somehow the value of the link between content and their

understanding by consumers and clients of what goes

clients is not lost on them, but the value of the creator

into creative content creation. There’s a misconception by

is conveniently ignored. Advice: tell it to them straight –

wannabe creators (and some established ones) that it’s

then walk away.

Creative Industry Guide Namibia 2019/2020

creativesuc

personal pet hate of mine), newspapers, magazines, the

4. Then there are the enlightened few – the ones who see

involved. Again, once bitten twice shy. Even worse –

the value of creative content and the value of the creators

you’ve now been bitten by an ‘expert’. I personally don’t

of this content. They are also instinctively and pleasantly

blame them for running.

disposed to being a part of the process and nurturing it.

The few of you who are out there are an absolute pleasure

3. Then there are those of us who love what we do and

to work with – thank you. Advice – nurture and give back

will create no matter what. We will be out getting creative

more than is asked if you are blessed to have clients like

for the pure joy of indulging in the process and seeing

these.

where it goes. We get a lot of practice and it shows in the quality and consistency of our work. This characteristic is

Now to the creators’ camp (remember, we are all

what sets our work apart from the biters. Get the balance

creators):

right and the reward to both the client and creator are priceless. No bite marks and no shy nervous twitches.

1. With the advent of digital media and photography especially – and yes despite what you think – Namibia

What has the above got to do with understanding? Well,

was late in jumping onboard – everyone thinks that by

simply put, if we create content both as a client and

simply buying a tool they are now qualified to create all

creator, to share a deeper understanding of ourselves, our

manner of content from the minute they open the box.

lives and our businesses and how we can be of mutual

This usually results in clients with multiple bite wounds

benefit to each other, the process will naturally flow.

and a very shy disposition to the creative community at large. Advice: Take your time – learn your craft – be able to

Clients need to understand what goes into the creative

confidently deliver! Otherwise keep practicing a bit more.

process so they can appreciate and value the efforts

Your time will come.

made for the end product they get.

2. Now we come to those creators who simply go into

Creators need to understand the clients’ requirements

it for the money! You know the type – they tried this and

and character as well as the vital importance of skill and

that and then decided: “Hey, I can make some money

experience needed to create the right creative content.

here!” Technically and theoretically they may have their act together, though they will more than likely lack

If every one of us embraces content creation on a

originality and heart – a certain resonance if you like –

sensible level, we can share and grow our understanding

when it comes to the final creation. My experience and

of the creative industry to the benefit of all. In the end, we

observation of this character type has been, a rapid rise,

are all creators, consumers and ultimately clients; and

followed by disgruntled clients subjected to a conveyer

we have enough shy clients as it is.

belt process – and the subsequent loss of those clients.

Hardly a pleasant nurturing beneficial experience for all

Creative Industry Guide Namibia 2019/2020

97

AUTILUS STUDIOS is a multimedia production house, featuring international standard music recording and postproduction facilities. Designed and built to impeccable acoustic specifications, the studio boasts 2 spacious live rooms, a control room, and a surround sound edit suite, all fitted with a large selection of highend audio gear, microphones and instruments.

NAUTILUS STUDIOS is also well-equipped to handle location sound recording from concerts to film projects.

Our post production services include audio editing, sound design, foley, stereo & surround mixing, as well as mastering for a variety of formats. Our experienced team of engineers, producers and editors can help you get the professional sound you need, whether you are recording a single, or shooting a feature film.

At NAUTILUS STUDIOS, we aim to grow alongside the developing entertainment landscape of NAMIBIA.

C I S MU CTION U D O R P

N O I T A C O L D N U O S O E D I V IO &

AUD

POSTTION

C U D O PR

!

S CONTACT U

am.com studio@nautilus-n

+264 64 46 3119

listings

LISTINGS

101 FILM PRODUCTION 103 PHOTOGRAPHY 105 TELEVISION 106 RADIO & AUDIO PRODUCTION 108 STAGE & EVENT PRODUCTION 109 RENTAL COMPANIES

100

Creative Industry Guide Namibia 2019/2020

ORGANISATIONS Film Association Of Namibia (FAN) Promoting the growth and development of the Namibian film industry.

 +264 81 663 0830  Windhoek, Namibia  filmmakersnamibia@gmail.com  Filmmakers Association of Namibia

 @endemicfilm  @pro.iconosquare  EndemicProductions

Equipment List Rentals

Rental company that offers unit support to film sets, events, and tour groups.

 +264 64 463 371

+264 81 243 3447

 rentals@film-equipment-list.com  62 Nathaniel Maxulili Street Swakopmund, Namibia  www.film-equipment-list.com  EquipmentListRentals  @equipmentlist

Four K Video Productions

Professional video production facility, filming & edit on 4K video format, including drone photography. DVD & CD duplications.

Contact Person: Chris Oberholster

 +264 81 737 8254  4ktv@iway.na

Namibia Film Commission (NFC)

Joe Vision Production cc

Joe Vision Production (JVP) is a Windhoek -based production company with over 15 years of film-making experience. JVP produce a wide range of productions from commercials and branded content to narrative features documentaries and other formats. We also provide film production services in and around Namibia. We deliver professional and reliable services coupled with unique creative production solutions.

We are keen collaborators which always makes the work better.

Contact Person: Joel Haikali

 +264 81 256 0283  info@joe-vision.com  R/194 Hosea Kutako Drive Windhoek, Namibia  www.joe-vision.com

The Namibia Film Commission is a statutory body set to regulate, support and develop the Namibian Film Industry. These goals are accomplished through filming authorisation, film development, production funding and training.

 Offices at Channel 7 Radio station, Ara street, Dorado Park Windhoek, Namibia

Contact Person: Hertha Katjivena

Creating and producing local and international TV Commercials and Films.

Lemon Reel Film Services cc

Contact Person: Ronald James

Contact Person: Bernd Curschmann

 +264 81 149 1900

 +264 81 122 7717

 harambeefilms@gmail.com ronald@jre.com.na

 Info@lemonreel.com Bernd@lemonreel.com

 152 Diaz Street, Suiderhof Windhoek, Namibia

 Arizona st, Walvis Bay

 +264 61 381 900  info@nfc.na

Endemic Productions

We offer reliable, responsible video productions services. We specialize in film, documentary, corporate videos, and commercials.

Contact Person: Renier de Bruyn

 +264 81 348 9109  renier@endeimcproductions.com 

Windhoek, Namibia

 www.endemicproductions.com

Endemic Productions cc.

Digital Video Production.

Contact Person: Liberty Verbaan  liberty@endemicproductions.com renier@endemicproductions.com  11 Bishops Close, Ludwigsdorf Windhoek, Namibia  www.endemicproductions.com  ProductionsEndemic

 Namibia 4K Video Productions

 JoeVisionProduction  @JoeVisionProduc  Joe Vision Production

Harambee Film Productions

 harambeefilmproductions

Inchiology Studios cc

Animation, Film, Music Video, Visual Effects, Illustration and Design.

Contact Person: Fiola Cloete

Film productions, Equipment, Fixing.

 www.lemonree. com

Lo and Behold Productions Namibia CC Film and video production.

Contact Person: Maarten Rens

 +264 81 872 5685

 prospersfilms@gmail.com maartenrens@gmail.com

 fiola@inchiology.com joy@inchiology.com

 Makamer Street 86 Gobabis, Namibia

 No. 17 West Vale Scheppmann Street, Pioneerspark Ext. 1, Windhoek, Namibia

 www.maartenrens.blogspot.com

 www.inchiology.com  Inchiology Studios  @Inchiology Studios  @Inchiology Studios  inchiologystudios

 Maarten Rens

Magic Touch Films

Magic Touch Films specialises in documentaries and reality television with over 10 years experience in Namibia.

Contact Person: Guy Knockels

Creative Industry Guide Namibia 2019/2020

101

 +264 64 463 371  info@magictouchfilms.com  62 Nathaniel Maxuilili Street Swakopmund, Namibia  www.magictouchfilms.com    

Magic Touch Films Namibia @MagicTouchNam magictouchfilms Magic Touch Film

Ndakalako Shilongo

 49 Pasteur Street, Windhoek West, Windhoek, Namibia

Contact Person: Ndakalako Shilongo

 RedHotFilmProductions  RedHotFilmProduction

Film maker.

 +264 81 377 934

+264 81 245 9666

Editing, animation, and film production.  twapewo@gmail.com

Contact Person: Robert Scott

 Ondangwa, Namibia

 +264 81 128 8765 Nello Investment Group Video Production.

 kingbobisrobert@gmail.com

Producer, Director, Writer, Camera.

Contact Person: Nelson Haulamba

 89 Diaz Street Windhoek, Namibia

Contact Person: Andrew Botelle

 +264 81 403 5118

 +264 811 28 4746

 wananelson@gmail.com nelloproduction2012@gmail.com

MaMoKoBo Video & Research

 andrewbotelle@gmail.com  9 Chateau Street, Luxuxry Hill Windhoek, Namibia

 614 Chief Mandume Street, Okuryangava, Windhoek, Namibia

 https://vimeo.com/mamokobo

 Nellovideo

Namib Film

Optimedia

Namib Film, Namibia’s premier production service company with over 300 productions through our doors, from Hollywood features to small documentaries.

Contact Person: Guy Knockels

 +264 64 463 371  info@namibfilms.com  62 Nathaniel Maxuilili Street Swakopmund, Namibia  www.namibfilms.com    

Namib Film @namibfilm youtubehandle Namib Film

Namibia Crew Hub cc

Contact Person: Leonard Tshikesho

 +264 81 302 7079

Shot by Shot Films cc

Film Production and Film Consultation.

Contact Person: Florian Schott

 +264 81 345 9453  florian.schott@gmx.de  Charlotte Gogol Flats No. 6, 31 Nelson Mandela Ave, Klein Windhoek Windhoek, Namibia  @florian_schott  @florian_schott  Florian Schott

 optimimedia@gmail.com

Optimistic Media Group Film production company.

Contact Person: Gustav Nuuyoma

 +264 81 427 0065  gsnuuyoma@gmail.com

PageTen Production Power and Glory Films

Teofilus ‘HPPM’ Antanga Namibia Multi Production Film company description to go here

 +264 81 293 9867  teofilus1974@gmail.com

Thunderboldt Design & Post Production Film & Video Editing.

Contact Person: Haiko Boldt

Film and TV production company.

 +264 81 269 6541

Contact Person: Raphael Scriba

 haiko@thunderboldt.com

 +264 61 243 511

 No 49, Pastuer St, Windhoek West Windhoek, Namibia

+264 81 127 3171

Placing of film crew as per production requests.

 info@powerandgloryfilms.com

 www.thunderboldt.com

Contact Person: Anke Stier

 211 Pullman Street, Windhoek West Windhoek, Namibia

 Haiko Boldt

 +264 81 339 6393

 www.powerandgloryfilms.com

 anke@crewhubnamibia.com

RedHot Film Productions cc

 104 Nelson Mandela Avenue, Klein Windhoek, Namibia

A Namibian content producer for the local and international market, with an unconventional approach to filmmaking.

 www.crewhubnamibia.com

Contact Person: Marinda Stein

 Crew Hub Namibia

Creative Industry Guide Namibia 2019/2020

PHOTOGRAPHY After School Multimedia Contact Person: Nestory Hilifilwa

 +264 61 301 235

 +264 81 228 6496  redhotfilmproductions@gmail.com

102

Robert Scott

+264 81 212 0417

 nessyvie@gmail.com

Ana Photography

Fashion Commercial Photography.

Christian Stiebahl Photography

 Hildegard Titus Photography

Wedding and lifestlye photography, commercial photography.

Iipinge H. Ahalwa

Contact Person: Christian Stiebah

Contact Person: Iipinge H. Ahalwa

 christian@stiebahl.com

 +264 81 775 0948

 4 von Bodenhausen Street, Pionierspark Windhoek, Namibia

 harmony04ayoba@gmail.com

 www.stiebahl.com

IK Cassette Media

Contact Person: Ana van der Merwe  Erna.vd.Merwe@gmail.com  41 6th Street Walvis Bay, Namibia  www.ana-vandermerwe.squarespace. com  Anavdmerwe20  @anavdmerwe  Ana van der Merwe

Annabelle Venter

Wildlife ceramics, Birth Photography, Wildlife Photography, Writing.

Contact Person: Annabelle Venter

 Christian Stiebahl Photography  @stiebahl

CreativeLAB

CreativeLAB is an international award winning Namibian based photographic studio that specialises in lifestyle and commercial photography.

Contact Person: Shawn van Eeden

 +264 81 228 8329  +264 81 730 7572  adventer@iway.na

Photography, Videography.

Contact Person: Lukas Jekonia

 +264 81 249 0419  jlukaslex@gmail.com  71 corner of 1st Avenue and 13th Street Oranjemund, Namibia  IKCassette.Photography  @ikcassette_media

 shawn@creativelab.com.na

Imedia Photography

 2 The Fields, Okonguarri street, Eros, Windhoek, Namibia

 Windhoek, Namibia

 +264 61 257 551

 www.annabelleventer.com

 www.mga.com.na

 AnnabelleVenterPhotography

 creativeLABNamibia

 @annabelleventer_wild

Foto Namibia

Ashande Photography

Namibian owned SME specialising in natural light photography.

A series of breathtaking photographs, featuring Namibian wildlife, vegetation, society and culture.

Contact Person: Hentie Burger

Contact Person: Yatva-Ashande Hinda

 +264 61 259 337

 www.imediaphotography.com

Karl Terblanche Photography Photography.

Contact Person: Karl Terblanche

 +264 81 679 8850  karlterblanche@gmail.com

 +264 81 285 8212

 info@ashandephotography.com

 burgerh@iafrica.com.na

 www.karlandreterblanche.com

 97 Hebron St Windhoek, Namibia

 Namibia Craft Centre Windhoek, Namibia

 KAT.Imaging

 www.ashandephotography.com

Gina Figueira Photography

 Ashande Photography  @miss_y_namibia  ashandephotography

Body Positive Namibia Art.

Contact Person: Julia Hango

 +264 55 49520  juliarthango@rocketmail.com  D01 Ametis Street, Ocean View Swakopmund, Namibia  juliarthango.wix.com    

Siknature Photography @juliart7 juliart_photography julia cult

+264 81 128 5199

+264 81 128 5299

 Swakopmund, Namibia

Kiss of Light

Photography in Namibia for Namibia.

Photographic and post-production design services.

Contact Person: Christian Goltz

Contact Person: Gina Figueira

 +264 81 392 3761

 +264 81 831 6306

 info@kiss-of-light.com

 gina.figueira@gmail.com

 www.kiss-of-light.com

 Windhoek, Namibia

Photography and Film.

 Kiss Of Light Namibia  @kissoflight  @chrisgoltz  chrisgoltz

Contact Person: Hildegard Titus

Kleopas Nghikefelwa

Hildegard Titus Photography

 +264 81 778 6607  hildegardtitus@gmail.com  1158 Victoria Street, Dorado Valley Windhoek, Namibia

Photographer - Military Museum.

 +264 81 2755616  kleopasn@gmail.com

 www.hildegardtitus.com

Creative Industry Guide Namibia 2019/2020

103

Namibia - 081 679 8850 email - karlterblanche@gmail.com

https://www.facebook.com/katsince2006

Kristin Capp

 www.mohammedshehu.com

Contact Person: Susan Nel

Contact Person: Kristin Capp

 +264 81 230 4847

 +264 81 673 2744

 MoSheMedia  @ShehuPHD  @mohammedshehu

 kristincapp@fulbrightmail.org

Oye Creative Studio

 Windhoek, Namibia

Lukas K. Amakali

Double exposure photography.

Contact Person: Lukas K. Amakali

 +264 81 211 6252  l.amakali@iway.na

M & M Photography - Namibia Photography.

A creative studio specializing in commercial photography & graphic design, concept development, production and execution of marketing campaigns.

Contact Person: Nessy Hilifilwa

 +264 81 212 0417  info@oyecreativestudio.com  Feld Street, Ausspannplatz Walvis Bay, Namibia

Phillipus Penda Namulandu

Contact Person: Mardien Sowden

Digital photography.

 +264 81 82 77 844

Contact Person: Phillipus Penda Namulandu

 m.m.photography.nam@gmail.com mardien.engel21@gmail.com

 +264 81 414 3238

 Plot 14 Nubuamis hills Brakwater Windhoek, Namibia  menm.photos.namibia  @mmphotographynamibia

 amafiftykgekundukima@gmail.com

Photo Studio Behrens cc

Photographic, printing, and camera equipment services.

 +264 64 404 711

Maritha van Rooyen

 namtv@iway.na

Contact Person: Maritha van Rooyen

 7 Tobias Hainyeko Street Windhoek, Namibia

 +264 81 724 2404

 www.nbc.na

 info@maritavanrooyen.com

 PHOTO Studio Behrens CC

Miti Images

Photo Volker

Cyanotype photography.

 susan@susannelphotography.com  Suiderhof, Windhoek Namibia  www.susannelphotography.com  susannelphotography  @susannelphotography

TELEVISION Namibia TV & DVD Productions  +264 61 302 304

+264 81 127 812

 namtv@iway.na  Eike Street Suiderhof Windhoek, Namibia

NBC TV

National television broadcaster.

Contact Person: Communications & Marketing

 +264 61 291 3111

+264 61 291 3104 +264 61 291 3026 / 3025

 Cullinan Street, Northern Industrial Windhoek, Namibia  www.nbc.na  Namibian Broadcasting Corporation  @NBCNamibia  @nbcnamibia  Namibian Broadcasting Corporation  Namibian Broadcasting Corporation

A vibrant, visionary & creative photography company that seeks to capture your needs clearly and creatively.

Panoramic photography and gallery.

Contact Person: Miti Libuku

 +264 64 203 015

Television network.

 +264 81 146 3142

 photovolker1@gmail.com volker.pesch@gmail.com

 +264 61 289 1500

 mitiimages@gmail.com

Contact Person: Volker Pesch

 141 Sam Nujoma Avenue Walvis Bay, Namibia

One Africa Television

 web@oneafrica.tv

 www.photovolker.com

 No. 79, Hosea Kutako Drive, Windhoek West Windhoek, Namibia

 Miti Images  @mitiimages

 Volker Pesch Photography

 www.oneafrica.tv

Mo She Media cc

Studio 360

Photographic services and media production.

Photography studio.

 One Africa Television  @OneAfricaTV  oatvadmin

Contact Person: Mohammed Shehu

Contact Person: Desley Hitiraukunga

 +264 81 692 7707

 +264 81 625 2696

 mib.shehu@gmail.com mo@mohammedshehu.com

 desleydj@hotmail.de

 14 Villa Chasie, Chasie Street, Kleine Kuppe Windhoek, Namibia

Corporate and Social Responsibility Photography.

 Erf 876 Jabulani Street, Mondesa Swakopmund, Namibia

Susan Nel Photography

Platinum Studios

Video, television, and events videographer.

Contact Person: Brian Prince  brian23prince@hotmail.com  toronto_opsin@yahoo.com

Creative Industry Guide Namibia 2019/2020

105

 6160B Vulture Street, Khomasdal Windhoek, Namibia

 Platinum Studios

 info@energy100fm.com

Voigush

TV Production.

 17 Bismarck street, Windhoek west Windhoek, Namibia

Contact Person: Luis Munana

 www.energy100fm.com

 Infovoigush@gmail.com

 Energy100fm  @Energy100FMNam

 +264 61 256 380 +264 61 256 378

 munanaluis@gmail.com  Pioneers Park Ext 1 Windhoek, Namibia  www.voigush.com  Voigush  @voigusha  @Voigush  Voigush

FRESH FM  +264 61 239 082

+264 61 303 724

 info@freshfm.com.na  158 Jan Jonker Road Windhoek, Namibia  www.freshfm.com.na

RADIO & AUDIO PRODUCTION

Future Media

1FM Namibia

Radiowave, Fresh FM, Omulunga Radio and JACC.

 +264 61 247 262

Contact Person: Nicci Wilson

 158 JAN JONKER RD Windhoek, Namibia

 +264 61 242350

 www.1fm.com.na

99FM pty (ltd) Contact Person: Fortune Kangueehi

 +264 61 383 450  Debbie@99fm.com.na  35 Alwyn Street Windhoek, Namibia  99fmurbansounds  @99fm_nam  @99FM Namibia

Base FM 106.2  +264 61 263 768  Single quarter, Katutura Windhoek, Namibia  www.basefm.com.na

Efmradio

 nicci@futuremedia.com.na  03rd Floor Old Power Station, Armstrong Street Windhoek, Namibia  www.futuremedia.com

 pmuller@iway.na  Bus 113 Leonardville, Namibia

 www.kalaharistereo.info  Kalahari Stereo Kletskamer

Kanaal 7  +264 61 240 190

+264 61 420 850

 kanaal7@k7.com.na  Ara Straat, Dorado Park Windhoek, Namibia  www.k7.com.na    

K7Radio @K7Radio kanaal7 K7Clips Kanaal 7

Kosmos Radio  +264 61 255 984

+264 61 255 985

 info@kosmos.com.na  1 Robert Mugabe Ave Windhoek, Namibia  www.kosmos.com.na  Kosmos 94.1  @Kosmos941

 +264 61 40 2756

LCCC FM

 info@hitradio.com.na  Andimba Toivo ya Toivo Str. 65, Suiderhof Windhoek, Namibia  www.hitradio.com.na  Hitradionamibia  @HitradioNamibia

Juan Vorster

Radio Advertising, Voice Overs, Private and corporate MC. Contact Person: Juan Vorster

 +264 81 671 1592

Contact Person: Carol Van

 juanpvor@yahoo.com juanpvor@gmail.com

 91.3@iway.na

 11 Chasie Street Kleine Kuppe Windhoek, Namibia

Energy 100 FM

 juanvorster58

Creative Industry Guide Namibia 2019/2020

 +264 62 569186

Hitradio Namibia

91.3fm in the capital OR 91.5fm at the coast.

 +264812338553

106

 FreshFmnamibia  @FreshFMNamibia

Kalahari Stereo

 +264 61 309 876  +264 85 551 5495  lifechangers77@gmail.com  Erf 531, Corner of Dawid Goraseb and Invokavit street, Gemeente 1, Katutura Windhoek, Namibia  www.lcccstore.com  Life Changing Christian Church - LCCC  @LifeChangersHQ

Live FM 90.3  +264 62 525 421  Bannhof Street, Rehoboth, Namibia  @RadioLiveFm

Caillin Basson Badass Producer & Fixer

Starting as a production runner on international film sets at age 15, Caillin now has over 13 years of experience in the film and TV industry.

As one of Namibia’s most sought-after project managers and producers, ‘Caillin Basson’ has become a household name in the industry. Her name not only represents her, but also her network of trusted collaborators who together can address all production needs.

Caillin and her team drive content from conception th through completion. They develop projects, create strategy, put together a costeeective production, run the set, and consistently deliver a high quality product that achieves its potential.

www.caillinbasson.com caillin@caillinbasson.com

Let's tell your story.

RedHot Film Productions is a Namibian production company, celebrating 10 years in content creation in television and film, for both local and global audiences.

Our team of industry creatives are passionate. About capturing the human spirit in all we create. And about delivering products of excellence to our clients. Every time.

Over the past decade we produced TV Commercials and corporate films for leading brands in Namibia, promotional films, social documentaries, PSAs, TV shows and the award-winning short film,'Coming Home'.

Contact us today if you need an exceptional product to reach your audiences.

ns@ filmproductio STEIN redhot A D IN AR M 96 64 81 228 64 Production NAMIBIA +2 RedHotFilm WINDHOEK, T, S ES N W O EK TI C DHO LM PRODU STREET, WIN REDHOT FI 49 PASTEUR EK O H D IN W N SQUARE 339 PELICA P.O BOX 98

gmail.com

Nam-Radio

Nam Radio is a global movement to give power to the emerging artists to showcase their talents for the larger interest of the society. It is a platform that creates and provides opportunities in a less judgemental environment that makes recognition of upcoming artists easy and valued. We’re a collection of innovative people who intend to create a society that is inspired and informed in order facilitate active participation from key marginalised groups within communities.

Nam Radio will also act as a movement to give power to the upcoming artists and create a platform for those artists typically lacking media access.

Contact Person: Collin Mogagabe

 +447 74 351 6663  info@nam-radio.com  Nam-Radio, 3rd Floor, Maerua Mall, Windhoek, Namibia  www.nam-radio.com  Namradio  @nam_radio

Nautilus Recording Studios cc Recording Studio.

Contact Person: Rainer von Hatten

 www.rapidsfm.com.na

 www.nustfm.na

Unam Radio

 NUSTFM  @NUSTFM

 +264 61 206 3464

Omaheke Radio

 +264 85 299 9900

 www.unam.na

 omahekeradio@gmail.com

 Unam Radio

 Omaheke Radio is situated at 70 Church Street (Youth Office Building) Gobabis, Namibia

West Coast FM

 www.omahekeradio.ncbn-namibia.net

 manager@westcoastfmnamibia.com

 @OmahekeRadio96.1  @OmahekeRadio

 Unit F1A, First Floor, The Dome, Welwitschia Street Swakopmund, Namibia

Radio Kudu  +264 61 247 262  Radio Kudu Bldg 8 Diehl St, Southern Ind Area Windhoek, Namibia  www.radiokudu.com.na

 studio@nautilus-nam.com

 +264 64 400 119

 Welwitchia Street, The Dome, Swakopmund, Namibia

 studio@iway.na

NBC Radio

 sbbaemedi@gmail.com  97.4 Unam Radio/Campus FM Windhoek, Namibia

RADIO STATION EFM

 nautilusnam  Swakopmund 360

 @Rapidsfm

Community broadcasting initiative operating in Gobabis town.

 +264 64 46 3119

 www.nautilus-nam.com

 Swakopmund, Namibia  www.efmnamibia.weebly.com  efmnamibia  @eonfm

 +264 64 464 048

 www.westcoastfmnamibia.com  @westcoastfm.107.7  @FMCoast  West Coast FM

STAGE EVENT & PRODUCTION Absolute Exhibition Solutions

A full service exhibition, expo and trade fair management company.  www.conferencelink.com.na

Arthouse

Art direction, set dressing and stand by props.

Contact Person: Lene Janse van Rensburg

National radio broadcaster.

RADIOWAVE 96.7 FM

 +264 61 291 3125

 +264 61 24 2301

 lene.bones@gmail.com

 studio@radiowave.com.na

 Windhoek, Namibia

 #28 and 30 Simpson Street, Windhoek West, Windhoek, Namibia

Capture Communications cc

+264 61 291 9111

 Pettenkofer Street, Windhoek West Windhoek, Namibia  www.nbc.na/radio  Namibian Broadcasting Corporation  @NBCNamibia  @nbcnamibia  Namibian Broadcasting Corporation

 www.radiowave.com.na

Nust FM

Rapids FM

Contact Person: Vivette Rittmann

 +264 66 255 858  +264 66 256 659

 +264 61 207 2874

+264 61 207 2878

 stationfm@nust.na

108

 NUST FM/Institutional Planning 12 Storch Street Windhoek, Namibia

Creative Industry Guide Namibia 2019/2020

 Radiowave96.7FM  @RadiowaveFM

 radio@rapidsfm.com.na  Rundu, Namibia

 +264 81 843 4567

We provide professional services for event capturing and production of DVDs for various occasions: corporate events, school concerts and weddings.

Contact Person: Marinda Stein

 +264 81 487 7804  capturefilmsnamibia@gmail.com  49 Pasteur Street, Windhoek-West, Windhoek, Namibia  Capture Communications  Capture Communications

DB Audio

Sound, light, vision and stage production.

 +264 61 244 944  info@dbaudio.com.na  19 Reger street, Southern Industrial, Windhoek, Namibia  www.dbaudio.com.na

DJ Syndicate

DJ Production Services.

 +264 81 401 0692  433 Emerals Street, Khomasdal, Windhoek, Namibia

Jaylo Productions Namibia

Services range from recording of a board meeting to full audio visual services and staging for international conferences.

 +264 81 129 9920  Windhoek, Namibia  www.jayloproductions.com

Kickstart Nam  +264 61 249 833

 54 Marconi Street, Southern Industrial, Windhoek, Namibia  kickstart.nam

Mammoth Events & Promotions

Large-scale outdoor and promotinal events company with technical staging expertise.

 +264 81 290 116  info@mammoth.com.na  Windhoek, Namibia  www.mammoth.com.na

Mikel-Jes Music Productions

Professional audio-visual, stage, rigging and camera production service.

 +264 81 126 7726  74 Nickel Street, Propserita, Windhoek, Namibia

Pixel Media

 ambili@pixelmediacc.com  Unit 27, Barleo Park, Northern Industrial, Monte Cristiano Road Street, Windhoek, Namibia  www.pixelmediacc.com

RENTAL COMPANIES Equipment List Rentals

Equipment List supplies location and logistic support to any production coming to Namibia and tented camps to the tourist industry.

Contact Person: Guy Nockels

 +264 64 46 3371  rentals@film-equipment-list.com  Erf 4832 Patrick Lungadha Street Swakopmund, Namibia  www.film-equipment-list.com

Pixel Media is a nationwide provider of sound, visual, lighting and stage equipment, supporting shows, events and conferences by delivering, setting up and providing on-site technical services.

 +264 81 485 5868

LIFE’S MOMENTS

on film

Capture Communications is a Namibian video production company, offering professional services for event capturing and production of commercially packaged DVDs. From corporate functions and school concerts to weddings and other special events, our team is at your service.

Whatever the occasion, if you have something to celebrate, you can contact us.

Because we capture life's moments on film... for you to remember later.

CONTACT US 49 Pasteur Street, Windhoek West, Windhoek, Namibia

N m l

Marinda Stein +264 81 487 7804 capturefilmsnamibia@gmail.com Capture Communications Capture Communications

SECTOR

6

Information Communications & Technology Creative Industry Guide Namibia 2019/2020

113

Kirsten Wiedow Kirstin Wiedow is the co-founder of Robotschool Namibia together with her husband, Bjorn. The husband and wife team are the founders behind Namibia’a first fabrication laboratory (FABlab) as well as entrepreneurship ecosystem cornerstones like PitchNight,

What Will You Be When You ‘Grow Up’?

Creativity Is a Critical 21St Century Skill Kids today are learning about yesterday and not being equipped for tomorrow. The rate at which technology is advancing means that we can never be sure of what will be invented and how that will change our reality.

Reflecting on the past few years, one common string that is clearly a defining ingredient is the creativity of those lighting the way, changing the way we work,

ADDventure, The Intensive Product

solving the complex problems influencing the world around us, and inventing

Development Programme (IPD) and

solutions which are redefining everyday life as we know it.

the HERD National wool campaign.

When Kirstin is note coding up

Creativity is the ability to be innovative and to ideate and produce functional

a storm and building bots she is

objects and services which, ideally, make the world a better place. A layer of

creating wearable tech garments,

creativity can be applied to every industry. Think about the invention of Facebook

collecting curiosities and brewing

– a simple tool for college students to connect with each other. This invention is a

up a fresh batch of apfelwein.

point of departure for the way humans function today.

Her daily grind is as the Head of Programmes for the international GreenTec Capital Africa Foundation which aims to promote investment in African entrepreneurship, headquartered in Frankfurt, Germany.

We often ask ourselves – what would you have been when you ‘grew up’ had you known what you know now? How would that knowledge have changed your future?

Namibian graduates are entering the world behind the times, the digital skillsets they have acquired are already ‘old news’ and they need to constantly update these to stay relevant. This isn’t going to change and what is needed is the application of creativity to the core skills needed to be an active member in the digital age. Hardware and software knowledge must be transferred to all kids and they should be provided with an environment where they can be creative, experiment and create smart inventions that solve real problems.

This is why we started Robot School Namibia. With our founding group of designers, coders and engineers, we want to bring these skills to our young and upcoming future leaders. The students we are coaching are provided with an immersive

114

Creative Industry Guide Namibia 2019/2020

and hands-on learning experience where they develop robots that haven’t been invented yet and recreating better versions of robotics in existence today.

The students complete a foundation level which covers both software and hardware aspects so that they can see how their ideas are transformed into functional objects.

As a team of creatives, we believe that it is important to be organic and provide space for each student to grow in a direction they are most passionate about and our first groups will soon be advancing into two specialized fields, namely ‘hard hardware’ and ‘complex code’.

Each specialty continues to build their creative skillsets in parallel with either mobile applications and digital tools, or Arduino and smart devices. Namibia is not the biggest market for this kind of future forward educational offering, but we are passionate about the long-term impact we will have on our students’ futures.

Currently the entire Namibian creative industry is perceived as a design, photography, film and craft industry, but in truth digital development has steadily become one of the quiet leaders, whether you look at website proliferation, app development or large-scale, locally developed enterprise solutions.

Looking at the way Namibia is progressing, we need to constantly update and add modern tools to the learning experience of students.

Only then will they be equipped to bring smart creative solutions to the surface and create a better tomorrow.

Youngest learners at Robotschool, 4 year old Vaydn van Wyk and 5 year old Malek Beyhum

LEFA, Namibia’s ride-hailing app Melkies Hausiku

The technological landscape and the funding which is needed for start-ups, SME’s and innovation seems to face hurdles and challenges at every turn in the Land of the Brave. Should we really be wanting to move forward as a nation, tech and innovation will be at the very heart of this movement.

Melkies Hausiku is the founder of LEFA Transportation Services

But, where we see countries like Kenya, Rwanda and Nigeria embracing start-ups

(Pty) Ltd, the company which owns

and investing in Tech, in Namibia, there seems to be some hesitation and lack of

the LEFA transportation app. He

willingness to take a chance.

completed his BEng(Electrical) at University of Pretoria. After a brief

We are not talking millions and millions, but sometimes a smaller sized loan can

spell in the engineering industry, he

give a start-up the boost they need. If investment companies want to make money,

embarked on an entrepreneurship

they must understand that many smaller investments can return the profits they

journey which led to the birth of LEFA.

seek as well. Without people willing to take a leap of faith and invest, we will never be able to produce the next Amazon, Facebook or fintech success story.

His startup LEFA earned him invitations to attend the Vivatechnology

The Proof of concept (POC) is there for everyone to see in the form of LEFA, a

Innovation Festival in Paris where

Namibian on demand cab hailing mobile application that connects clients to

the world’s brightest minds and

shuttle and cab drivers in and around Windhoek through a sophisticated yet

talents in tech startups meet. He

simple mobile application system. The word “lefa” is derived from the Oshiwambo

has also been invited to give a talk

word for lift.

on tech focused transport startups at the Ride Right Now conference in Minsk, Belarus later this year in October. When he is not glued to the computer optimizing and monitoring LEFA, coordinating drivers or building relationships with corporate

smartphone, eliminating the need for calls and providing directions for pick up and drop off locations.

The fully automated service of LEFA’s application delivers a seamless, convenient,

companies, he is on a tour guiding

safe, comfortable and enjoyable cab ride. An on-demand ride-hailing service

tourists to some of Namibia’s most

available to Namibians through their smartphones 24/7, should lead to safer

iconic destinations, learning German

roads. Namibia has one of the world’s most alarming road traffic accidents in

or trying very hard to be a great

the world and often drink driving is the cause of this. LEFA has made it one of its

defender at DTS Sports Club’s Under

main objectives to combat these horrendous statistics by giving people a simple

30 team. He is currently working on

way of booking a ride to get them home safely. Often the excuse for drink-driving

an expansion plan for LEFA to launch

is that there is no safe and secure alternative, with the technology that LEFA

in other towns in Namibia as well

provide, this terrible excuse becomes null and void. LEFA has made it possible for

as neighboring countries. You can

customers to request shuttles/cabs and expect no time delays, the ability to track

reach him at Melkies@lefa.com.na or on Twitter @The_Mel_Nerd.

116

With LEFA, clients can request a cab/shuttle with a touch of a button on their

Creative Industry Guide Namibia 2019/2020

the position of your requested cab in real time eliminates the possibility of receiving falls time of arrival form drivers or call centers. Introducing this app right here in Namibia was a bold step, but one that has been embraced fully by the consumer.

Another one of the main objectives it to assist individual shuttle drivers to prosper by connecting them to customers through an innovative application.

However, The cab hailing application has proven to be successful and convenient in Namibia as in many countries all over the world. It is also a testament of what’s possible when Namibia embraces innovation.

Not only can we revolutionize our transport industry such as with the LEFA application, but there are countless ways all sectors can benefit.

Whether through investment in Namibian tech, or from a regulatory point of view, paving the way for start-ups to blossom and in turn allow entrepreneurship to thrive, will be how we can drive the Namibian economy.

A testament of what’s possible when Namibia embraces innovation.

ICT ECOSYSTEM RESOURCES Developer Circle From Facebook Developer Circle Windhoek Facebook Page.  Namibia  developercircles

Internet Society Namibia

Namibian Chapter of the Internet Society, an internet multi-stakeholder organization working and advocating for internet policy and development.

COMPUTER, IT & WEB DEVELOPMENT SOLUTIONS AnkerData Namibia

Ankerdata (Pty) Ltd, is a quality POS and Solutions provider focusing on the development, marketing and maintenance of inventory control and interactive POS solutions.

 +264 61 232 554

+264 81 424 14312

Creative consulting solutions for many challenges.

Contact Person: Yanis Japal

 +264 81 749 7369  exnihilocc@gmail.com  Windhoek, Namibia  www.exnihilo.cc

Green Enterprice Solutions Specialised IT services.

 info@ankerdatanamibia.com

 +264 61 416 300

 Nachtigal Street Ausspannplatz Windhoek, Namibia

 info@green.com.na

 Namibia  www.isco.na

 www.ankerdatanamibia.com

 Unit 1, Gathanri Park, Corner of Thorpe & Voigts Street, Windhoek, Namibia

NBIC Developer Circle

Axon Business Systems

 www.green.com.na

 isocnam@gmail.com

The NBIC Developer Circle is a community for software hackers, coders, creators and generally anyone that just wants to write, experiment, play with pieces of computer code in whatever computer language.  Namibia  NBICDeveloperCircle

Open Data Portal

Namibia statistical data.

 +264 61 431 3200  rlabsnam@gmail.com  FGI House Post Street Mall, Windhoek, Namibia  www.nsa.org.na www.namibia.opendataforafrica.org

RLABS

Reconstructed Living Lab (Rlabs) is a global movement and registered Social Enterprise that provides innovative solutions to adress various complex problems.

IT related services.

 +264 61 259 886  Info@axon.com.na  123 Keneth kaunda Street Windhoek, Namibia  www.axon.com.na  AxonNamibia

Business iT Solutions CC IT Solutions.

 +264 61 207 2769  rlabsnam@gmail.com  Windhoek, Namibia  www.rlabs.org  RLabsNamibia

 +264 61 227 409  C/O Jan Jonker & newton Street Windhoek, Namibia

Indilinga

Systems design and logistics.

 +264 61 401208  helpdesk@indilinga.com  Brandberg Street Eros Windhoek, Namibia

 Bismarck Village Unit 3 Cnr. Bismarck / Church Street, Windhoek, Namibia

 www.indilinga.com

 www.bits-cc.com

Cylon Web Development

Inky Shop  +264 61 235 167

Website and custom android application development, and digital marketing.

 inktec@mweb.com.na

Contact Person: Jesse Liula Schiceya

 Shop 28 Poststreet mall Windhoek, Namibia

 Tsumeb, Namibia  CylonWebDev  @CylonWebdev  Cylon Webdev

Digital people Nambia

Web and Software Development.

 +264 61 252 133  info@digital.com.na  Unit 37, Old Power Station, Windhoek  www.digital.com.na  Dpwhk

Creative Industry Guide Namibia 2019/2020

Incredible IT

 +264 61 229 697

 Jesse@cylon-webdev.com

118

Ex Nihilo CC

 @inkyshop

IT Choice cc

IT solution and services.

 +264 61 228 139  info@itchoice.com.na  7 Bell Street Southern Industrial Area Windhoek, Namibia  www.itchoice.com.na  itchoice.namibia

iWits

User experience, digital design, programming and web development.

Orange IT Solutions CC  +264 81 144 7747

+264 61 402 248

 +264 61 256 660  Info@orange-its.com  assist@iwits.me  Windhoek, Namibia  21 Nachtigal Street, Palm Crescent Buidling, Windhoek, Namibia  www.iwits.me  @iWitsDevelopment

 www.orange-its.com  orangeitsnam

Orbit Technology Holdings  +264 61 232 537

Karnic computer Equipment and peripherals

 +264 61 225 801  +264 61 225 901/2

 Admin@orbit.com.na

 Shannon@karnic.com.na

 108 John Mienert street Windhoek, Namibia

 16 edisn Street Southern industrial Windhoek, Namibia

 www.orbit.com.na

 www.karnic.com.na  Karnic

Lindela Investments CC

Structured Cabling, Computer Services.

Contact Person: Andreas Vashinda

 +264 81 726 5336  vashinda12@gmail.com  No.4908, Penguin Str, Walvis Bay, Namibia

+264 61 232 622 +264 61 233 255

Pastec evolution  +264 61 431 0400  info@pastec.com.na sales@pastec.com.na support@pastec.com.na  8 Schinz street, Ausspannplatz, Windhoek, Namibia  PastecNamibia

Point of Sale solutions cc

Sales and Service of Semper Hospitality Solutions and IQRetail Products.

 @MalaikaTechnologies

Contact Person: George Bierbrauer

Modus Computer consultantion

 +264 61 228 276

 +264 61 256 662

 info@pointofsale.com.na

 admin@modus.com.na

 Prosperita crn Cobalt abd Nickel Street Windhoek, Namibia

 Mozart Str. 26 Windhoek West Windhoek, Namibia

 www.pointofsalenamibia.com

 www.modus.com.na

 Pointofsalenamibia

 ModusComputerConsulting

Rainmaker

Nanodog

 +264 61 831 7246

 +264 61 225 221

 success@rainmaker.travel

 info@nanodog.net

 Windhoek, Namibia

 Windhoek, Namibia

 www.rainmaker.travel

SMARTMOVE

Smartmove develops and designs effective websites, digital marketing campaigns and customised digital solutions with a results-focused approach.

Since 2013, the agency has kept the focus on all things digital and grown to a core team of 10 with a diverse skill set aimed at creating digital campaigns that cover brand messaging and positioning all the way to conversion and optimisation.

Clients include FNB, Radio Wave, Standard Bank, as well as big ad agencies, freelance designers and many smaller businesses in diverse industries.

Contact Person: Theo Wormsbaecher

 +264 81 284 0789  theo@smartmove.com.na info@smartmove.com.na  Windhoek, Namibia  www.smartmove.com.na

 www.nanodog.net  @nanodog.net

Creative Industry Guide Namibia 2019/2020

119

Royal Computers

STATSOL cc

Information Technology.

 +264 61 228 179

Contact Person: Pea Angula

+264 64 200 543 +264 64 406 914

 thanksie17@gmail.com esterhamacher@gmail.com

 windhoek@netmac.co.za walvisbay@netmac.co.za swakop@netmac.co.za  Windhoek: Shop 25 middle level Gustav voigts centre  Walvis Bay: No 111office C Hage Geingob Street  Swakopmund:Erf 347 ,Libertine Amathila Street

 Erf 5 unit 4 Rossini stree, Windhoek West, Windhoek, Namibia  @statsoltrading

Three Fourteen Trading CC

Software development and innovation.

Salt Essential IT

Contact Person: Ester Hamacher

 +264 61 433 9911

 +264 81 370 1074

+264 61 433 9921

 contact@salt.na  161 Mandume Ndemufayo Avenue, Service Road, Southern Industrial, Windhoek, Namibia

Web Development and Digital Marketing.

Contact Person: Theo Wormsbaecher

 +264 81 284 0789  theo@smartmove.com.na info@smartmove.com.na

Contact Person: Llewellyn Van Der Merwe

 +264 81 248 7770

 Ongwediva, Namibia

 info@vdm.io

 Three Fourteen Group

 18 Goshawk Street, Hochlandpark Windhoek, Namibia

ICT services.

Smartmove Web Development

Looking for innovation leading to brilliant ideas? We’re a passionate and dedicated Namibian company creating dynamic, integrated systems helping our clients work smart, yet easy.

Building Joomla and Java systems that improve your workflow including websites, online client portals, complex data remodeling, dynamic integration systems and statistical analysis.

 threefourteentrading@gmail.com

Veya

 Saltessentialit

Vast Development Method

 +264 61 285 3000  info@veya.com.na  2 Bismarck Street, Windhoek, Namibia  www.veya.com.na

 www.vdm.io  VastDevelopmentMethod

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a it ti u ll nt le ec tot oss n s sim por up nihi ptat apis loru ucim as vell rchi , e ffic m u s o r d l o u v i m d n o i t cum u io ua qu ui io id sa em r a r tis t e q q u i e e m e p r u t q r N e u i u t u o t u ut ss ns ed ra us sq ae. vol t, c inct cim dam ccu ibus occ ecta ates r itio unt rpor l i t s qui u a r l e o l o u n e e r P e e l u p t a q r s o . v r e q n p te id o sd tio po ta vol a co eum uam ndit nes iasp tibu emp orun itior t et olup l r A e d n n d u v i o . o a d a i t l seq v a c i n e r u s u i r n g i e h u q u a t i d u t i t o s d um a dia um qu sti ita nt f ate olor um s es sse prer tus il in ue p il iu re, s u lle is d e e t vit leni q i n m o c t e i e o m o m e p d s v , n i u R i c p ns er ut ni e. ui si a am tem ptat xe ipsa a no olor uda nt a int a mag epti ea q i au d p t e a m c i m s i on e e d d a i d u h r i a c n i o , r s n d o t i e n , s o l e n A p i i n n e i v . o s d t de um .N dit cie sv idu les hic net torr ilibu blau e lia lorio olen tibu nt. I quis a vo i o o u v a m u t r m d i d i v q r a d e o n i n s i i l t u o n m ve ria ta de eq rat ov lab pta enis t aru s et que volo ons den rfer stet por olup er u u itat n t t e e v i a l r p m , u n t t i e e i e s U s t a l . m xp tu ta pt cu r, t um ci alia co re e Nem cup cus loru rati in re tatu qui upta de e . c c o s p p c o s o a v a e quo u c s f i a b l t t , r a i o i t d a u o f s o b s e o i q i u t m b m o a li n qu qu re p qu em ca tat To fugi or a eria m li s et eum . Op olor rum s ac enim tat. a t t , u e l a v p n m n l um s t i p m u e u e , e p l e x nd vo lor ns oru em te est ti o md dis utam s, iu rect qua rnat it vo n no eris tum volu qua i u e d x n a l b quo e m s t m e i i e u i t I t u c S s s t s a . a i i r a i i i t l i p t l ? d i o g t m p e t o op fu an re tur un ue ov olu a quo uos me und id q e pe omm tur re p ue pori q md item i u v nit p p c e d e e o e x i r r n m t u e e s o e p o t o s l q q i u c u o , t u e o e l l t r c s o o bi tu ru les or a pid fac et v rnat la d et d t, no as e ta ta t rem uist, vo itas i i ve e pr um m s i m l p i d g u u u c u o u d r r u q q t l s tf u vo ,q as em un uo exe nde tur e pa tas tiate por si q cips pore trum en rest aut as q ven i tiu a s r s o r u s i s o o e u e t l s q o i d b i ti do nt sm aio es an cca del nt.X ent Am qua nda elit t, no et o e vi sus el m t ve tatis i e di g t i d l s v n s d n u i b e e em. n e u u a i a r r d e p l b a d o l n d m i x m i t t n i e m u a e o , s e it te r, up s e ati eic unt ect . Ut non oss tota por tatu non ihill ui re cim olor vell p m abo n c q m v u u , m s fi e d e s l d i f t u o a o o N p c ri . d am ui an tu to ui iusa ut ut re o occae se q it qu loria mu ue s t eri ed q or ra s n o u q s s s p t s v o u u r e s i am c a t t t b o u t d i u n m i a n i i p t c c i u r q r u i c c n e u P e u q m rer da po u ell o. les lor t la seq d eu spid ta v rp o esti mq rem t pe t vo bus nt e a i a i p o a n o i e t i u d r u e u t c n r t l n i n u i i d q i a o vo st s ol .A at se en hil ut u ui d do di v , sit a du um itate erum re est ia q fuga tio n e p lor a n v r d s i t s o t i e que e o n l s l d i e n u e p l r u u , i e s q s t p m l i u m i l s i i t in pid ute oe en tiam t ve sec con ame atis agn erum im ipsa ci a e. R ons aep t au non qui asi r i u a d m r n t o a a i d d l n e n e d t o u n im d p ex ,o as de len t ve nihi s de lu unt, pore itio con Aria net a do iciis blau rrum bus ve ieni . i s l i h is do o s c e m I t l d u s u e . a i d o n i t q b u o n u i t v n r e e n l q q r i a o x .N it eli da ole idu ui m et v enis end ta s ue e t lab rian seq ro v lorio tio v tate lest d p a q o e n o a i t l e p f u t l i r o v l r o p u n e p r n i o v ex er xp s, po .U m s re ut v rum et l ore ilita tate tem ue e um ti cu tatu in re ut a Nem p , q c e a r p i s . u r s t t ate u u o e c s t p t u a e i c b c d t o e a c s c s a t o p c r a s m s di up it re alia qui loru lit fa abo et fa us et re quo nob mol uas o co qui um t vo q acc a o m i u r i gia s T r u s s q e s m u i a . e , e , f p a t , x qu pt ta us nt o ru liqu est ,c eum lut e eristi o rem ndu orum ptat olup am imp qua o o t l u l v O l n i v c atur o . , e m e t e t e m x s v r d u o t m n r u t e u i a e t o i e n b t m ti gi lor ns el em uam in is i sun uo t tiisi opta it vo qui Itaq m fu uod o ip n no rnat d qu i i . dun d e e q e d l v t m e n p i s i e m s o S i u ta sp om ? nd elic f pre te d cer xpe orei olup pa a sti c etur io v osa e, o id u r re lo e or a r r e d t u r p u i o t o u m t q p s n t a d p m u p a ta la ue ue ne om ue se dit olu vern erup nt. Erc stio tur, seq bit q pa q ccu unt et d e a erum uo qui s o a l s t f x a m n o p m i i e a e , v u u r t q usc dist lupt ist, t fug ui d olum tur s ndercit t o u e q s au s uas t m v n i q o a q i a i e e t s , i a tib t l s sita r e re as st u en , e o i ev en t d r o o i t p d a g m o p v i m r i t i n r m a l Xe an tru nd sa cat oss os ute olo ru . Am ent. nda ssu t oc mai is d lend it es it, n ulla v l t e e m l e d t r t e a i de e e p u t U s n d r i v u x a . u m e i o b n q e o t b i e a d e i , t b m it, ur sim pt en ta ati s em od eici pis a oss or u c to ihill ptat ace runt non lect i res f p n fi m u l m o l i f l u t , e m m d o c o o q e v u e o ut ut ria ui uam io v ndu . Ne ias ia c eri d ffi tum cae ed q lace r rat t rer e sa sit q ust olor e qu c s o t s u u s, o v s e o m p u a q u i t n t s r t b o c o n a u s o i c i i m s u u t b u e p u q r le qu i nti ell rer tq er i uda lacc it pe eum mpo equ ta v spid rp o pita o. P s da olor d e i s p a d o a r t v u i i n n u i a t s o b t l n i o A i u i r e q d vo te a. ti c sa int en tiu ui d or ut u que uam end a du ates sita t fug ia q m re t hil t q , p i n d s u m e e m r pa p v u e u e s r i s l e u t t u i u o l r s n o n l i e i t q i l p p d , n il tio iu me on um pid ue am tem vele qua i nim ecu lles da d ui c psa seq orer asi a epti i au i n n l q s t a c g e o e a em n d u m s a d t i e e s n o d n a n a m d n e R t n s i o e i is no oc de ol od er lup . Ar ae. ut v is a cien lia d n ex um, bus hit a hici pud s do eate s i i bla i I r i i o l e e c r i . d n u u r c u t x o e n q q o t p o ve ee c itio sv Ne eliq tem sit idun liqu borr oles rio. tibu end a du pta lend e v a ro v upta t a o d l u o i l p e a l r a t v t l f o x o e u r d v in n ita et re tio eq ee ev ilita od rem . Up loria ons tate arum s et qu ptat or ra i o n n m i t usc u p s v , e s sim c u c s s t m N c i c e a s u s u t i . e r o l o c a t fa a o o i m qu um ur, od ui a oc upt rati i ab te et re rum de e ptat , qu olor as q mqu rum qu r ep u s o a v u us u u o l u p t t c q e o b sus t i i , , a m a r s b m m i e i t c u o m e ac Op or ven tat exp ud an liqu . To oru int. mol is a into ore am ptas t eri ptat l olut rect l n e o s l n u v m o i e s l i e u v e t d t e o n t o v a nd ris i in s no dit md liat tum is qu sern s, iu exe qua il in d qu it eo ? Se n d u t que a r i a c e c u n b t i t u i g l p s I a fi p t t f . e ve as os ,o olu o ip pta m fu ia a prem e porio e qu eum it pa ptature md mm u pe o dite e n e s o q r iisc u e n c t m r c u i c o p i i o r t u u q b c x t t r , E s e o a e r s f s le tu se ,n lup nt. ate ep dolo dist t, vo t do i du olum ta ta et fugia tec t rem vern s e i s u p a i i m t c a q u u i u e r l i m q ,s at en tas su rs e, q nde t vo quo lam osti t po rum Xera atiores rpor i tiu ntur rum t m . n m o s t e s l a s A s v n e o d . i de io d e n c no it ve u a m l e c , s t l q e i t e o i c m n t r e d and l e a p aud s et nem ria et fa ndi it, to sim , ex ebit u inve a e o r s i t d b s t n u s i m n t e t i a o o ru ta ill m ce up um ui r eic ect bu volo olup por , nih i od ia c ut la Neq vell r d u o . m m i o i q s e l r q ui m e a r t a t a o e a d e i u a r u c v d e u q t t i t c t t s u q o us ra te sit ap o un .P su quo qui e di stio quia scim ctas rpor orer tibu u e m e e o n d l m l q p i n u l p a r e a r p e e e d p u po end ditio u ta v r ad nias olum seq ndit qui a di orem olup us a ue d num tatiu tio n a. 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u e o d in er e n , ad q si q , am nis non et fa sap nse iam ffici xim emp s s e o r m i d l o a a u i u i a o t d e e , c r c m i u a s v n s s ce a or le m iq pre on ee ibu eici vele aqu ti vo ut la emp rumqua ne c equ ui re t s tq u e e s i uten s o q a e p a n e t n e r i s l i m e n s r s e a e o e p g t n r o m n d a n a p T ui m no dio lu ium im eru ia e us. int, to mq alia que ? Vo olor poru d ex rita ptat tur s r n ne t d o o c u a o u elec m n i l r t e p n t d m u u o e a a l a t v u s a b i e t u c o i l r I i i q o u q q at t. al fi is m po m i ul ue d re e ri of est, el in tem ctem impore isqu qua Nam da d o t p a n a m l i . n r s n m o u s i e e o a r e u i s e r ns Qu or uia qu nim tat os ae ma con volo erio mol to q ille ium unt. occ ccu lorp olup i l c m s m d i i a o i d u e u e f t d a t t t q c s m e ui im ac to res nis et e cea ut e t ea u Neq em max atam ullam, i de tus t iet, e ex ri co ra e aliq u t a s i c i u o o i q n d u d q p b n m i g n n d n l a e i a m m i e v e c u d a l a a e p ev io at pe r ria uid fac qui to e t lat e ex ped tem rern cum a co us, umq tur a sun tem i m te e c p b s c a i i i n e s a t o t i t i d t n n u i o s us re qu pta ec ero imo dio s. T ipsa ri nim ores volo t qu seru perf nt id i cu epu as s esc s u m r n e u d u volo t u r a r e o n n q t e c p a a c s a o a t t p i m a a d s c l n r a u t u ia ig rn nu llo ue ep m ven us in e po r mill ccu harc exc . Ne que repe dit q or s lam a d ur, c t l i s t u c m o m a t e o d a a e u u e t l q er to pa ve tem xer liqu rem uid enis u s in qua pore et e uun con epe s re seq ne e d i r i int a q n i e i n i e e t u liti s r u t u o d s s a t e q o a q s c e s c a v p d u a o e p c n s t e la de tq it e r sa atia ece per nec lup asp uo e epe rere e iu ro t ncte est e pt ore offic t vo i q c r o a p a p , l u s e u c m t e o a r a m r q tu tu nd ole de osa me ia d cia stru iet o ven osa tus md esc upta . Erciis ia n lore emp n r ati a a a t l t rem t o n e i m f n v p e m e s t i r l i r u l t t u a s e n m c o o u s n e u i p l a u o is tae ss nd it q ce ciis mv emp os ui d nisi , tem t et, se xpli rrov illab t, cu stru is d itate i e e c e m on e n m s s X s c , o c a s s i a i a , c s u u e u m t , , u t b u q t a m li ta sq ati ar am ua nis mu num ml seq vide nihi esti me st q tem t ips con i om r mi a a deru i e n m l u s u e i s e e t t u t , t t u r e d e m q e es au am se El rna im ium em que paru ctat pos t fac tion ie n edis o. C tur? erfe a a i fi e p c s i e t p f m d i u n u fi s a o a n l f n i o q e r am ia vo us m, m nc nse os s, o lace por d qu nis , am edia prec im i i qu s de atio a i m uibu s e x s e m n r e s n a q r , se s a e i e u t i o l s o u u u m c a c d e i u q q t q s n r i v p ui ne le im le se a se am po ui a ese eaq eici e ve e no ti vo dole dion uten tem mqu p s n s i m e u s a e , e m r n e olor r u a t r n i u e t n o q n r s g r m i p T o m . o a e u um cto ul tus rita eru ria Vol sim lia n olum llit pa p ne i i sin dele tur d ex ur? nt a upta bero dolo n i l t n c u o i u s t o o a t i e u o a a n m v i a u d a e q m e ct t ra lic . It mq i si nda tem m re pore lori offi t, qu cu p ma l int qua mpo squ c u s i e a e m r e t n t e i t i p N a m u s i a n s a . te u e os uu ra ior um es imo e la no upta quia nt. Q lorp le n olor equ volo umq im facc u cae l o i o i s s t c m l c l ea n i i m o i m i a d o t e u d h i e e o t x c e q t c t t s s a a et re m am rer m, um eni t ea ut e xce ptis it at ulla ri co acc ui d volo atus enis ra e iet, d o n q n v o e c n p m , cu g a b u i u a t u e m i i e a q m d t d r d r i a i c i l i e o o a o a t a qu nt se di nd fac ur eri lat , qu ma eve con rern s su cum iti b mpe otat bus elia tem r u i a i s e T i i m p t i o c u t . n n s u d c q s s e m o a i id dio qu se occ imu i te ipsa i cu sim tat p aut tum ribu ero e in mn runt repu esc p and f r a o e s a t r u d l n t o e a p r l e e o n o l a m ia vo ve ut nu av rep ec nse ign pt . Ne cus harc cus i co rnat que mill es p llam it qu m r a e e d e t o ece m o d n p l r i l u a u p u l a e s r e s a e q u e r e r v u c c a m s e s x i co t qu ti s uo ere et e t ex ee por t ac nten tem veli eliq sed erun iis r a di uia te n id e f n t s p ssin a p r q a u i a u e e o t e a u q r n c u c e t t se tq tu co ne pta dq lac cep lup m ffici uo e ore pore con epe cte erna cae t vo sa e q p c n e p s e u olla o i l e t a d m a a s p t o m s u d r s d e a e o r m e i n r u u r t r r e i t c re t is it am m osa ae atis et p ciis ven dan dolo ae l lest olup s de mn t qu n u o em a rfer ma d u r u i e e q t i i e r m s o c s t a l n n p o i e s e ,t ia ov et, cii os upt t es mp t vo tec rpo llen xpli sam aec t ut Xerr on e min is u o t i s de e , s c i i i v e s b , n s , co s n m u i a t i s l i a m q m a u l n u r m i s s u a t q c i a o u ta om st a str si it ip t qu us c sit, um nihi utem ur, eos ace en e lit, c t es ms am, t atib a u is e s e u m e u m e q i d l o i u a u e t C r d v m in ?E ta o. mp se pa dis ons id st la etur iani esti erum luption uia offic nse tur m nate c r q , s e o apic m e o o c u a s m m p m i u r q u i o n a e i i n q e q n m v a f d i e d s re er m im ad is a ,s se end ficie sap ori o cus qui ndis con max m, a elen mus ons p u e e i i a v l e s t s m c n u m o e n a a e a e e l i q e v r i or no ut qu ve ui at eic ue e ul i rep rest mol rum eaq agn t, ne ptas inis repe seq o e m n t u r s i sin e o m i l m l i u c e T n . o e r s o a e m s a l t V n e d a i i r u i e u x r o r i d e r? ct lo e ro ctu tat ec an rum uatu oremos tibe ti do mod on n i offi icae laut t ali olup q a r a l n e v t n e o a e I l u i a u m . u e r o s p q r qu am eq t, po ui im cte im l int hil am ons e. N tisq tem a es arum . Qui in o ss spe lle n c a r a i i p a n o c rerc r u i m s i u r m r o o q t u e d o u l l u o l c n l q o o c o e s o c u v ac fa ev mo ui t eni rit ium om as cca liqu eaq xim tem stem et et il ui d erio me m, t a et id a i e t q b a a r t d l t e i l m m o u t n a c , s is nu it lia iam ve ori bora ciet pori ven us e und , qu natu me mpe o ea pa c b s d a m g u t i i e cca i i t u r e t r c n u a d t a b i o f a c u i q l t p m vo ss oo e in tur ust um erna mpedi o e seru ata rfer di te ui c e cu olor nim n Tota n e nis r v q em u e o r . p a q n N c e m s s d e s i . t i e p r u u o p t r i t u i e p c c m na sc sr re ta sa es run ullo pud ndi illig et e ece ia a cep sin uae iquo acc n re nda l ulpa c x m q r t r o e e e n o e a d usa d c v p t c e i s a h e e d e i u d r i s m t u m q i s u q tu t o pa el te rum rem ce ella dit q uun rese exe erna e qu tia v con erun vel e ne is re r q f o p i a r e e r n t t o p t o d n e t o a p p s p e e e d cc ia re ae ep ate cep da as c illa ssin rere te la pro tec taqu t qu olec san sa e dem ius o c p e d o l o s e n u n lam o i p o l l u a m d s u t o o t u m a m v a q r l e a q e t u i tu o m rem ae ss um up ti t sc iet aut ven ni d nis lore licii aec nt e ia n tistr it qu oles a t i a o p s n a v i d v x o m m e m o r s i l n e t i e r e l e n ,t is er se c ss vo por mn is u perf , co sam , cu ue X um taqu t et, , co arit, t i lab dem r , m q t i u l t i h i s a l s i s t s i m m c i s u e t n s n s a ni tq ute ace psa vid qu i bus r, en e ut a ed e i om t es aut sit i um s nse m s r e eati num s i n o u , i e l tatu m r o c d E m i c u m e a m i t e ? a e fi r u p a l r C p t s f t o. ,o on etu uia olu etu ic pos rna da q ces esti in c iam nim mv mq am nim s ap erfe sen d s i a e u a e p m n e i o i , n d i q a s o c u r e x i on ad ,s po us uam velenis offi ma si q eat eq ne c rem cus mus ui q us, dis les prec i o o que q e n e a n i n i e ores r m a v e r e l l c s i a e t e i o o e o e u u u n e l p p v Creative Industry Guide Namibia 2019/2020 q m q m 123 , i e do as o m i em ne ore int inis rest ons ni s lupt lect reru na t rum us.T a no ms rita o e m i t e a g o l u i o V d u a i a p t r a r a t i ? c s e e o n xe nt pa ffi sim lup lor tib tur quu non od e ullit orem qua ori o laut e ea ti do ctur si vo l a r m p a e r i o t m a o e u I m e m i uam p u q . t im que ic s u

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e a v i e ui re m mi xp .U ent to d mq eici t, to ibus tate tend latia tatur, e abo i c e t l m o n i i s face e n t p m l u h s s i o l t i u r c o c e n e s n o r p fi l u v , e f o m u p vo ria ol um to am ui r ias od and bu lace mu eri d ria c utem ssit qu qui rerio Neq e qu ue s t t o t . t l s q d s u q ui a e u o n t e r u s a v a o s a s r m i u c t t t m u e t i o i a c c p o un ap iat tib sc ud llec er i on lac rpor quo qui dan orer e di d qu pele olor io. P a ve i o s t p t u v t m p p m i r s u p q t u s a o d e b u i m te ol qu rem An en nia dit inti ad e llit ut u re v nse dolu ga. end qui us a ti co u t hil e tiur o s d f a i m s i m u a t di u e t u t a e t d u q s i r n a p a e n e s s e s u i t i l d i r s i , l e u il il re u es et tv e qu np sen elen rum i nim nonsec mpo . Ro pid i co i am ptat m, e rion e n e e a u s u r a e t l i g a s a q o t x u o a l d p t m ia do ne pu ta en aep mi is d s ea ea duc is d nihi , od o co leni end Aria pore equ is a i n e i v . o t exc m N e v i s c s i d t i u . e d e r c s u l u h o a u n r I i s u b i o a i i r l e q o l . b l v i b ol nt qu a el ot a olo ue ati mi ndi exp tio v vidu iand mv eliq qu i borr t lat a sit a r tate t e u d e a e r o o l r p p r u s n l r e a u t e u q e n o t rf po ut ita no et tv td ita vol o taer s re tati us, . Up mu ess lias , tem m in r tate p c r u c ili a e m o p i u u e s s sim r i t r e t c u a u u e a o a N n c c u l r o i t q d . c c o q s p u p as ,q re it a ut os it v um di o abo olu et fa abo mqu nob atus quo qui rem cus om po r quis e c t i T , a t r l r c i m p m . m e i o r a t u u O l s o s ta am t. ,e eru tat ven nt e , su nis dell opta olup se m atem in rum exp into ore ndu i v l n o t t s t u m o o i i u inte s c a l v i m n , d i e r u n o u s t o u r r i n e t v q i u u q se o te Ita tib cil Sed sun t ex ed q isim ndis cit e e lia veli em. upta o ip ur? asp opta fugi l a r t u fi o s o a f p m e e i q o r m d o p p d it om po qu m r re um re, pe dite rovi cia omn sti c que que ione us e tatu uptu o ex , t ute e e l l t r c t p i s s o o u c d a u ciis b e i t r d d r l a n o p a f m e r E o t t a n s e v l e . e ta ias iv um m pe st, it r m unt dita ist, s di mol olup r su o qu ec e t fug xeru ui d derc ore, qu v a e t u u e e q n t t n a t s q t t i u s e n a i i a u s ti ve it rs ,s m rp ore rat qua os a ut a mos t po lam ioss stru nde cati dolo t.Xe n s a e a c deli n m a o s i t i o um s m e i d n A v t r l t v u l , . n a e e t e e s e t t i e t i d d l s en ud inv re rem ui di eb pe st bus llau mq to d tia a icim ace it, to tem nten i res sim or upti r, ex e c f a e s a u l u e n t l r t t s l i o l o o e m a o t p n a ol ve pt m f nih qu uci ffic ceri s, o utem quam, cum i od rio v . 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I l q q r i a i e c u i l N ut e a l o t x . d i e , d o i u b m e t o s d v n i v a q e e l r n e i a t a e o o e ti pt at uc qu ns olo lori pta a rfer int d peli ta d or ra , no Upit mv volu t vo er u x a s p . facc u m l u e a e r u e t t t m m i a r c m e a l e m e e i t i t e t u n u t i t u N e p , q c n pra tur ati et itat odi bo. ccu de e os s cus ipsa or e ess rupt lias sim ui a di o upta it a c r rem b l o a q o b s o s l t a o i u e o c a o e c et qu ac o an om mq it v uo rum s qu sus tas , eu s, q s ut rum t eri xpe ue c at. T quis qua p t u i u n e q o l m t o p c u m t t p u a i i u , d e r t u o am im or tur vol Op rist iun vol aud v ven rect dell mol um tota exe us, int. nis e t iate e n b t m e r et e l i i i n t s a m o t g u n l n s n e e u i a i i s u o t t o u s q i f d p v a p n q s i o it o a in . Ita eo quo ern d qu tem ovid Sed cit e lupt dis licil ta s spe omm e prem o ? fi pe p e di n e f r p t v a c x v a o u i u u t e l a t t s , e o id au rio re es do tp ur r olo tru asp e qu em eum mni tatu e po rnat scia la d lupt u i n o p e u i s o q atis o , v u q c i u r m d t r r i r t e i c u u t e E u e s t s r b c f e . e q a e s o r a f x ia at em ,n pe uo vol unt um ut e mpo dist lupt cit r ist, t fug ui d olum ur s ec e as q e r t t o u e q s u d e t m a v n i q a q t a d i e e t s , s i i t el ni re as en ,s or iun ev res ill mos erat ut a lam e vid nt p and orpo rum ssi t atio s l X a t . s c o o o us c m m i t s d u c n d b u a A n e n i s o , r t . e s e t t s e t m i l i i a v l t e l e r pe ud se u nt de rem ita ui d inve em r, ex tibu ime ndi tia a deb mq t lam tur min it, to u s p e a s e t l o t s u l t icim s e n a s i n r t c e e c o ru n po nih mo lle ime lup ui r t fa volo ucim rfer tem cum i od s ve ie n i do am, ia e Neq o u r r u a c u i a . i i t e r e q q fi ape r e u a e t f c t s a o r d q r i s o a l c e l r t s u , u o e s v oc po ut a ec im tes tas us u ions uibu runt quo rpor ue e repr llec lesc quia dam e q q i ntib e r e o t u m d e u v a o a p p i P u s t q d sp rp dit se pta de api ole rem tio. ibus on ania ditio . An qui i co md dion ur a nes volu i a i t s u e t u e g s r e u m d a lia n r q u e u o d t a n t f a i q p a u e a a s t i t m t q , d m pa iun se ra lum eru t vi uun ue p pore etus imil inu ullit m il n pr tio n id q e do mpo mq i m, e m o u s e p a u d a a r t i c e a u q i t l e a n a i q se s ep ips ni nd lor qu t as cu l olo nda o es nse atem occae e nim a do mag den nse R t s ea i o e i r o . p l a d s r i dm n e A o u o i e s l n . a i d , x a t i e o e s d t i e e t c a d e um pu ea ihi ut is isc on e li ilibu . Ihi torr exc ven iet, io c equ pore bora liqu it qu o t em e c i s N r a e t s s u r u d u . c d a e q a o d l t o n b p ri en a pt le fac eli vo ati lab er u rna volo t lat exp int d volu qu i nda io vo tem itat e t e e a e i p m i m a t s e u r d is re r t U u e a n q r o o n r t . a r l o t t a a p o i o n n m m e i u si ss s, mp i ut as dio cips ut v . Ne occ os s uas core r, te ti cu i ali epu ptat t es q um abo u a r odi u o e u t e r i u r m q t u n a p u e o q u q d co as su re upt s, q or vol m eum perum abo que r, cu bit a mqu mol imp isit tatu c t u o e n i u p ella t c o r n e x d q l T a a O o i v t e l u a l . e . i s t o t o t a v r e t a a in in am p pt lor nis em et e opt nt e volu dell odis volu ons sin inte it vo atem quia ndu u risti i s n d n a m u r q e m i u o t e a n e x , u e i q p S s e qu it ? lu nt us as cil ed ndi qu ugit . Ita etur ipsu offic a aut vo veli asp lupt osa tatib m , o o u p o a m e e i d trum o q r p r r u m s i p u i t e o e e i m t c t m u p p e ta m us ra mn ciis ue it q i co ione ur r xpe por erup erfe facc seq nob ur, o t. Er test p lest t m s , lupt n a e t o a e m a o m i u n t s v d u c i e r d e ol ta is tr fug et sd ui d ate ist, ui v us erci nem olup stiatet si q um tan , sit as a , qu e v d t s r u e n t m a r atib o r r s u m a o e p i u m l o e e u t t p t u r r X r i n r m t m . an la de es olo atio . Am os oss ent e ve etur est lend qui elit occ m it, n c mai nt v tis d rem e i d t a d l e a o p n i m f t t e u e x i e d m , v b et si cie en on r, e sit ia a bus imin ecto de us eria mn i res2019/2020 runt Guide qNamibia tatu , offi illat mos c upti u u o p s h a l r i c d l l u u prec l o Creative Industry l o n o 124 e t b a e v e o i p , i i r u N v r u d u o i . am tq tem ae olo qu eri am dq eri ole uias pita it qu occ ut r at u nse nt v ese Pud ust md r t s a o u . o s i u r a s i r m r o i u u i d i o a u e o u t q t r q s tib lesc que id q um llec porp nt pa p rp o am ene dan it pe ad e iasp po r quu lum a ve equ end ditio ullit

l s i e t u q es na con est volu nim r ian uam em da q rfer offic nis uos n o q d i e e n , q m i p p e d s i a c i m m s a a s se on rem m, is s dia len offi axi cus us, qua recu eati nse us, sm a ve ori o lend m i i p i o e m e p o a l i u c e c i u v u r e n q m e v q a ti equ e te ne eq ui t s e e s s m i u s o q e p e a u n e n e r r i s l r m e n ta ns re m ne do olo ag Tor ms one llo int, olup ria e xeru tur sim tus. rum e iu to m ia n V o a e a l l o n c t t i sinu a ? o p d e r p r n i l t d o o c u a o u e n n i l r t e p n t d m u o t tia ra Ita qu os ue tibe qua lica ecu si v int. offic rem mpo a est, q em ma e ea qui laut l i t uam r o e a s r e t c i q e p N o t p a n m u l n o ii e. ea as ru em eq ior sim es quu nim ma quia ons chil t. Qu lorpo s olor olor e cae m u r c l v n o c l u c e m t i i u r o c i l c m s m u fa ti di a te olo tis mo ate et id aqu acc et e me cup , to ue v ores enis axim a , , ut s et e m q t c d t t i m u i e m l i a a i e t r a t i r r a l u c q na ul dit po bo nis m erio ndi a du seq iam cca odig tem ea n elia idun eve iti b ia ve i u a a p r r u f o d q n t o a con q m m r , e n c r m u s a e e p m u i t u r e c a u t u t s t i m ta oc es tp in ne us oru stib ui c odi anis dio s. To lore upta fero ibus ue c i vol imu id q r r r u u o cips q d n e e t o i v c p s l t s p n i e e m vo re ru nr tem cus con s au and t et eatu tistiis d es p ulpa nata e co pta ia a igna lori end r n l l u n e m c l v i e i r u c q e e s p a a c x t u e am di it e cor m. N mh ad m t ac e pt in os r d e uo q publishing u e c l ell The rNamibian r u r m q s au m e a e d e q e e landscape might be hard, but it i e a p i v e a t, im u s e nt ex n el er u n q o u t r u o p q u e s e p e u c e s i s d n d i r i in te uia on ati tu elit nt ore na ed q sse oss qua acc There as c ptaq isn’t lbleak. feru nis tia v de p erna tcompletely ece cepis hope. r u s e a e e p n l e e e t t v u t t r o i o e p p v re ro e or qu ce res ae illa sinc xp aut et p dolo da p leca em sa e am t qu trum ventur l n o d a o e l m i re e s i a d i p o s e c o n t s i r u s t a m o m t m o a e i l p e n r e a a a vo en el ti t int olu cc is r r mThe Dark upt tContinent um erfe voll qua sim ni d oles dan it fa aec iiss is u l t t mpo s n i c s m a m i i e b u v e l o u s e r a d c s r o i ,t s t, ne exp err cill rpo est mn sit, a ni eum aacliterary , co sam Remy ut e Ngamije e Xcities uiscountries , co , co , u isof the eworld t bus Imagine u t q t m i i m i s q q t a r l m a map at night, with and i am u t s e t a a i a u n i n s e t u i s h d q i i n m s a m p t v i s te co io an ru lam ur m sit and en ebooks, m t es ut u r, eo ateliteraryueoutput plays, films, m o to erumis high—music, m, s l eNgamije ed e poetry, aRwandanu nthe u met where u u a s E t r i r i Rémy is a s q s ? n a e i n a C r t f t o o p e c o. er pti sed de etu mp da q institutions uia ei ffici as q libraries, museums, esti andrarchives— sap their supporting , offi con pici am iani sen volu such born Namibian novelist, s u m a m u n n o olor c a i e q i m o s o u v e i i d r d a p t q t d m n , e p i i s a e a e i m s m lights. eThe e rStates, up citiesisofs the United thecUnited us onessayist, lenmajor e shortaut s, s uaas ue eshowing ui re max columnist, ue m ori o qui ui q ne c les imu l nd seq av a i p e o q e e o n pa q u c l s v v a i n e m q e o t e i e e e e r e d t d u Kingdom, France, Germany, Spain, and many other parts of the Western t i m story writer, and photographer. p s o n s ol re t, re su rov um nem sini gna reru ptas s.To Chile,orita in to mEternalinullo r scip rumIn South uBrazil, iaofeColombia, oludebut a no umwill be eablaze. ima c t u i i e r His novel “The V s l world America, parts e a x b o l e i a t l r r ? t s t p de a o ibe tur ctu od on n ti do uun a ni volu einatChina, enti i metropolises atqu qua mos Of One” cbeaeilluminated.

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Namibia e int a l a m u a of Namibia’s first i . c u s a n c h e m l i r q i m e l m c r a e t, re llo ad ne epe magazine: sin rum dark sae ept quobe amongst vel idun ccu light uae Doek! am os r exe those corwhichdno rem placesmfrom i su exc seemsettoaemanate. t ore q n t u e i t n e p i r l q d s u i n i e a l r i v a id en nte tiis e sse pe rfe ate aqu equ on p cca quu ece tatia u re lla v tet v epe s i t qu t c a n p d l s c e e a r n e e e e e m e n l o r His short stories have o o u p ct ca lla sa pe po cep light, per sc would us umq r sinThe absence s athough, dole appeared e denot tell rthe emoThe tiore ex o te of that mpino Doek!is(NAM), estwhole story. nda r u u r r e i t a e t p m r n ptat s e i a t m o e l t o u a p l n e e v s c n u a o u e d l e a m o nd ua ol fac us um ia d et q i dBooks a or m t volore tem Johannesburg alit vit q t, se Review iiss s nof esc ptat a ni , i r o e c o fugi u t i r n o e l t c m r n u e i p p u m e a e l n r Hope Does Not Shine, It Twinkles l x s u s a t X o m i o o t i e e , s c c (BW), am Review , Kalahari ni (RSA),aThe m ue is isi ss qu lab mv arit, u m ut ipsa i om um taqu n estisq omn t, cu a q stru i r s i m t c i t e h o , s s e i , s s t t c s o Litro Magazine (UK), AFREADA t n u a e li te m am ,e uo u qu i aut um rum the absence d eaNamibiapalacks viditeis truesethat posmass ur?El e (UK), . Ciu of critical atur et q und isThe t nse Forruwhile o m i m i i d d c o i t e Amistad (US), n n e t a c r fi s c i o e e r ia qu olo , of se ee ons api uptienoughem e am rnat in c American light to be seen be iamChordata nis and ut et v quo from space, quuntrue mpoit would vtoolemit a qu needed d (US), i e d e d d a qu s s r e m s m i a n p i a , s o s x a e n i i s s i n e a s , r e u d u u o n c el is no oliterary po country. eq vthere len output e c Azuret(US). sm ovid uamto conclude sc atio enim uamMuchelike temin the m elitewould iv o rr ores non icia u q v t l l ui q a tibu l e s e o s q n u e a s n a a p i u g r n m t u , i r e e n a t p i q s r o e to that no just not the a variety t m i in ct er life—it does, .To olu Moreeoflehis ruassume siamdesertohas m s be wrong di g nem ia nbe readecu pta writing d exe ctcan atus Thus, linraiatropical e iu rorit too,atur? V dan cturmight ifind t s d fi o n e n e t f p o o d b e or the quantities one jungle.

Namibia, a u n o u i m t la ol qu at a on em alic lori a no owebsite: pore on ihis t. Ita qui si v re e que pis tem ea n m am who eare indoing e m a t, qu has. Nwriters c i l m l s s s i n n s their part to keep the darkness at bay. i u e n u h s s e ti ar rc o ui sp lle si co ra inc quia dici remythequill.com uun lore lorp um upti orio lor a cum nt. Q q o o c c o s o c u t i v c , v qui m a s m i t n a i f e e u u e r i o a m u s t q d o l e m e m q i i n , a st er m to their ali t co et axi i te qui tam contributing et e travel, bloggers ulla core There s m and nfood riti b s estia iam ta sareetfashion, am small evend orun i i n i l i l o r u n e d u t o a c o e p q v a e p pa s, to ibu idu idi em ria v read cum a dign atem tibu plowrtheir octrade sunbook illustrators um ini t olor ptat s mqublogs.cComic t ur a v di o buttenthusiastically u s o e t u u a olor r e r u a a c e d e e p t o m f i i l s s a o r i u m e o n m n i T n q e r popularity but tinternational anonymity.

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The country has performance and e a m n v u n e e n e s a n u q r u x a r o e n r r c qu t pe ati is n re rfe ne eliteraryccpoets atiis unearthing pore e po life; playwrights con est e pt ven eles ped the deep epe a po r mysteries of dhuman s a e p ate c a a d e a c l l x c u e r l n m e i e e s q re te t sa sa iu m ot re dol s de nothe up dolonovelists sincwho entertain uo e tu olla t pr andt shock; uae and c mpo ptio am aspiring interested inmall a r l e a q e t u u i m u t l e p s facc t e i o m e r a s u t s n t i i d i e i u s c e e l s n r i i c e q e v n ra it ol ta int f an olo pli nia ma eos tem sim rrov end ut v orpo m eum nisi s ex olle n , i e s c s v s o m , u X i , u m t c t o q i c e a m e b t ta ar t, ,s m, qu tru q it, c hita cilla issi s au ist u qua stis tem ces sam idel a ni o n u e t u a p v e e i q s orum t m n , t d t e e r u o e m i m s e u o i t a s u u t s n m s r u e n ta i co dis El tq ion ee aru m, ium r mi lore nse offic id e ia p lupt tur? osa o. C o nate , o a qu c i u o e i p r v t c d v q p m e s t n m f n i am ni er dia te se is a am em nse aq sap nse i au d qu quo or ia is d sen axim am, o i u atio a , p n u c m s e s q e de p s l m q i e u s s e e u i e e i v s e n r u c v m u d l o e i Creative Industry Guide Namibia 2019/2020 o o q r 125 r a n o m ve s eaq or ten ori olen ese eici qua mol tibu t, ne null repe as u o m i a n emp nem sti v t o t i inis t s u u o T e p c r . s i q r a a n u a ol ele m tus ere tat an gn d um orit t ali r? V os d ficti ne i xeru ur sima dan cu p upta oria iber u f l l t e t e n m o t o o a a e o d i v u d e u r r n o t i n en a i

Light In The Dark

d pi a e ol p s m es ta a di quo tibu am e iu rem sti v m. U r, eo qua edis u uun n m e o e u s q r q t i u N n m n u ia r a e d . o u o q t o m m , o r a n c e c p u a o b a ffi in um qu ot av em xer ons ora cus qui ctor xim m, o t qu and s, n na t am od e i e a m a emp e u r g i r u t u c m o a d d m q r a l i i o s ic um isim nse sim les rat xpe que tio ut v ae e is ap unti erer ut e r ep e ve e co m l n est, ctur d o p n a o u e e or ra i n a b e o v r e s a r p r u a n , o c o i e o c e l i i s m t l e T r e c o d n m a lia a , te mu lor us. olo ti d ma int, t aru que t vo ptas teni atur obit ptat a . Ita t u . Na e o u n t d t u i i i p e l i t t r n s t v a a u i o u i i ol er q pta pta ero eris si v ui a pel bero o qu unt loru To m r ac s et Volu t ex qui seq r as d i eati . o o a s e t ? o i r n i g v r l l r e t a p u u t r o o v ia pt ol isi atu un ue s, i mf s volu s qu tem arum tem qu liqu to m tibu pa q dite mqu a c core a u u m e m m t e i e t q u l o d a u p l i t l c i u e u c o l v m n n d t q c e i d o e u d fa s s, or os spi ips et e o rr e pe Qui qua uam mol tatu rem dita mo exp null q p axim a sunt. m o i e t a O u p s o m s t m n l r I . i o n o . is su e sim ic int po no an la d te ven scip prem licil in em tam test nim po s ficti t m u r a a f e e a u b o t v r o n i r us u l i n r t i r r e c o e d e r e genres of storytelling.

There are students and professors r u a x e , n v o v t r m o l s e u u q t u tu ui ol a to rio mo olup quid pocountry’s ptat tota s au lupt uo q dit v dit q am, t dliterature e ni ethe n o o u l l q e u i i of at universities. e l l u d t c i S a s u q s n e c i a ? um se em an nis od aut i ge iqu is di etur el to e tion inte tur s cit rem ue l s qu m idel and s i i n den q v u d e u i d e l t ev e e n q u n v e s e o r t e a q s v n e e d u n s u , i n o e d d uo cc ss ist no an un ulla mc asp varying uiam Thus, ore , qu thereluare uetheq country, si ti it eo m fawritersit in sus l ea pawith . Ut e ccu i q s c s o r t ia p a h i o e fi o i b u o c r f n a a p r b q m o r m e o m a e s , m m o r i o craftsmanship. interests levelsr, of re Thereolupt te ol t, n ene and datisdifferent di t ee olo vel sap v tota tatu tis d tatu um te n p t min ue v r s iu s a c a i i t a t u u q a t i fi u t c r i s a i f l p b is hope e asfor literature ia hoep o et q s ethen. And luinp the country, to cu de is lit e cwhile ma erat u t vo mu cati ugia cto ucim i de ciis Xdoes q orit, s f u r . c e i d d t l e t r t E a l m n r n c l n not shine, it twinkles. e e . e u a b s at ve te nte atio str sv unt ui in uu oriti osti que ent sinc loru occ ui d r ati seq quia m s o r m t e q i n ed q v u f u e e s i s r o t p c s s o o e s c n i e c s n n r r p u e c a e a o v o te tib ce t re dit,to Extractive t po Creativity ui r et l r iti esti auEnd on c An r ma r up tate dan t pro us u c i Neq unt a o o lore i r n e s b . p t p o s i o e , e t a l v l a o ill em em ca an pe et tem us lam res idi v is d stopst vNamibia What olor from , nih o oc us d at u t ut r, exthe country nwhat ae i Amlacks, tand r u b u u u m . i a t q r t a q a e po u a o m n u r t d t i s u p m e i q e o p l r r e i l u i b n robust lorer m world, isillaasustainable po sit sharing olu , toits lightdwith aand de ruthe st h s do po r erna ssit leni ctas sc do i e eri d ur a p l is e i o e m u u t t o l t a n e i l b q s v a m s e i r c e t l s e re independent at the concomitant si m od publishing eand r em industry, imu av i co ut v int e qui stru ore, dem nda po non lupt lam e test lesc m p d i s o c t a e e t s m v u m s a p i s t u e e s v literary community needed to nurture and support it. t a e e a t i c r c t u m t s t u d nu up no ria t, c t fa An um quia ci a m, e dole r mi um issi taec ga. volo ria e s u pid prer m i u u ptia t t e s s a f s i q n e l e n c i i a t i e o a n d lic ae t la eru an ic nim omn knowledge ons il iu pos ven exp mu , cacademic it qu p or cieneed forna e cproduction dus tof a qu m The local has r a m s t i v i fi e l e a o u d f o t i u e r r p u s t o i r t er s, vid taq i di lore o. P is a que e Xefound moles o uhave perfthat writers nihi materials uibu ensured rumof educational hici esti a q a qu pid a do i a i e e n s s q a r i rem t d e t e t s e u , A a s d s s d p u t c i . i i n u e m e q e n s e ap sa pr relatively im ns publishers. da en da access when met ilibu lup ptio to p sen inum am qui am, it comes ui re olen sen easy rum But si a u , l s q d n a l i t a p i do e o o i e a i t m s n i v t u i t l t a n i n i a s q n u e s e o u e i m e o to Namibian literature and novels), the q (poetry,iutheatre, s n a di st m sd tf ue ne liqu mni que mag tio n am, ieni dem . Cstories for r ali seq , co o s u c o d o e s i m i e q i s l o m l t p i s u l i same desire to produce local the local market o n r , s l a u d co do qu cu ele f se um aqu am, sit q osthat nse est Namibian ia v drastically. quoSo much que torr orum nem e arit, p o c t i e eum i p o n e s s wanes so numerous e r m m a i l r s a s m e o s p i n E o e t i a t n a d ? t i t b u n i n si au lia t, ut tur . Ro nih ulli porinternational at la vole hope mfor aes ium is a and then, dae m e publication nt a eos s ve tiwriters a di e u d u a u , e r s u d r q e p u u n e o b n u s i e q r q t ri at d or on on m rum nse u ia m, eventually, into mpo importation ffict erum in cthe country. ra n us a back qua les p o to erio e x o o c t o u x e , p m toru i v m q e a m d c x m e m t a n a n t o e a a e e d g i r u o a t a q id pt m er em sm sa sed rian io c apic tiisi exp r sim dolu erum t, qu vele con ae e n r t u ndit s i s t s c u e u e i e e l l n e c c d u p n a o o My journey ae ra eq no The uEternal , se Audience i unOf Oneliate v te o ore to publishing lori tio v alic acc lorio cea io. N , ne m s lore i do us.T o i r t t t m x e o n o n a a a e uand v m tas l i t t e I q N t p o t e mirrored the migration of extraction resources p d a . i . e v o u u t d t u i i e v ut or as sti vol l in ria t et um eliq uia ui a (and cero iber lupt in the xeri i si spe qcountry nt e tintellectual exp athe to q et, u e o u a e i capital rest of the u a r i V e t q s r c d i e o u u s e ? o r u q re or aq iun fug tur n ti vol ad p ue pto leave s et us, molmatter). et e em rum qua quu em t b t lat continent, for that Itqhad and then be a i o volu i t a a t e t r p d m s m c a o e u e m e e m t e i e r t b t t u l d u p l i a o t a c i u e d to it. While cc id et i in rov my novel’s ri c acc de ssit pe ohere, oitsipsun sold osback pewere llo r am m fa im f tasp origins s et mpo t. Qu porem i x u u e x u e n t d m e t n q a t i u i t a a a m d is un as ign is m done dolino SouthstAfrica. i co Whilerem. It rern no imo ssim fiediting tia n and upublication me la cips were i od ven o c a e s nis p t d t p a il in m a r a e a i f e c u b r s o t p r i o n i r l i l a r p t i r i e o d e m r e the securing of an tucontract rio v m se ex international ua un i v publishing ne tur olo esc , to pta olup aut tatq dio quid o qu Tota po nim u d m p u s l u . a t e p m e o o u l s l q i e l can be lauded as an achievement, it also points to the e l u u d t c u r ? ici m nu eq en m ui c uas ute di c con r su thatrecan m s shepherd etur di g of idNamibian id q nis d o ea eliq ione e la u t n dan t t e t u m a n s n absence alternatives n d n t q v u d u i e e i v se rc en aru qu ss se vol e ve ute os con lam nde llaworks ccu ist, non iam nulp and to finalisation. e cu u u i a u m u u t f local of fiction e a s t q u e qu q q i u e u U , c , u t s m q s l . s e c i q s u u s o r o u a ol re aio ab po rch bit ma stib e qu om a as pis nem tem olor lore el m t, no a e di te a o d imu v s t s n v i tur, arci n n s o u e m i i d i a t h e t v t u m m u r s s a e c i i t a t m e ffi bi Thereicnumerous causes this: er s a marketolupt ea ssmall reading aliq upt um nat eru ut o ias im e elit rata o de v am occ it, c g t c illig i d e r t l m u c u i o X o s f m e u . r e i d d t l e t r d (caused educational anden economic conditions); an or rfe en mp tet t be inc vel by poor ma cati stia dun ue s runt nt v ias repe re ini te qui c oriti o i q o e u e p l o c u s q m s o m s t q i a n v state support e e andoliteracy s s for public p cu se inadequate si s libraries co olo ep r sin rerio it, n por ptat i res t lac ition tibu stia t us v d u t u e p r r e u c u n q tec t u e e a a s e r a s n a programs; lack of funding and financial support for s r t t d u o u i N u a o n l i r p n b s b . p e , ri m ae nti olo ele llat t vo ri co exc lam volo utem occ s de exp nihi s da ut e idi v t i a m ullo , , o u t a t r n c A r u a b u u m m c . i a t q a or ua ra ta int ut atu em pern bi d et eum o rporp sit q dolo me um olup t hil , tor d r s re s t e d s i s a e o a i i e N cilla s i t r d r u p t . s c s s i e u q s i i o i i e m u u m t l t l t n q re ta us ita ore dm vel ele atib repe um cim nem uae ui o ce p re, s pta ut v sti c me s o q e q o u a e a e n l a l estr t l d p d t o s c t a e e e n t m v u m s a i p i s s u s e e v t s c re c te m t ti cu ce aut t, im ndi veli quia et fa ur minu m, e sit, loria uci erum fuga. A dun a d a s a o i i i i r i i d v t t r t p p n u p a t t e n s t c de ia un n me nt seq con dae eru ae p ut la net s an orer e ni il iu com con ven qui i u perf m , m p t c e d e t a r a m t i a u fi e c l a o n e p iti eru rna as Pud , of ide i bla ta osa enis que ui d olor tio. erfe bus mv ciis i q d end i d s p nihi u i u v r h e a la v a p a I i l a i e t n s q i a . r d e t e e t s e u t A a d n s m d p qu s. tu en rec se idu mi apit eles olla en nda um ilibu ame tion i rep ro v leni e qui exp n i p i u e o s rum m s f u e l q d n a l i m r e r a e t o p o a e o a i t m s i i r a v t u i l t a t n i q n s up qui dion e ea ms r up s de nse gni , am ique u i tatu e u e l m a i q n p o u a e m e i C t e e u q m t a d i i d . s c s u n il

t u e c f r er ns m on us axim na t quo am orep qua erio d ex m, o ecto ra n g t u p r m x o a o a e i q e m p s s d m m m d e e um si se at isi em ele ici vo con vole con erer unti t, qu lupt s at ctur ate pe v s ap itio i s i e o d e a e e l i d e n d r n n a r e n e e o u o c o a s n le ol qu s.T ali cca ior rei s, s qui ti o o vo t, ne am tatu ati d te o olor ovid imu volo . Ne t n p N r a I i n o t m . i e u e . eris e l e r a t e c t c x t d o t o n i i a a x u e l i i v r u e t t r o e qu as gi ro ero i si pel iun ui a ue mv lupt t, ut squ m fu atib us, ue p r as ui to seq eliq o i e i e e b q t o e q p V i t l r c i a t x e a n o ? o u d r e v ol ur uu pta ep te et e ad vo que arum m quat to m id u stem umq pe o ora ovid i t lat c p r e b l e e r r e m s tum i a l p o a u n e e c o t e t x t c l t c u i c e l d e c i a c s d a f et ip fa os m nt i in por olo sinu ssit mo qua i tem natem atus ipsu la d t. Qu mporem ctia ni axim m a d n c t n o I o s g m m c i u . r u ffi as sti eru tib em i od ssi enis s sim anis re cil me t ex ori o e pr ped nate qua rpo ia v l a r u t r s r veli o t o a l m r a e p a a t i e o o v u m s i r t t p c i i n i r o u m s p n i u d o u p a tat dio un ec oq olu lle , to ent et e que lupt laut dici et d di g s qu s. To umquid lam repu e o l n a u s e d s n u i m a u c u o n n u i and rthe sTown, nd Book iFestival, a high risk liq in Cape eq Then Open emSouth ionem i carts; and S deassociated ethe swith andthe literary ue c t v de o e cit ntur ur? qui nto con d qu r s t n i e e end u e e e t v t l m v a s m d u n o a e e fiction.

African llBook Fair, nind Johannesburg, featured a u m um rpublishing us il ,v ccu qui tiun have sa ella us e Ut u uist ue c ulpa ma erch ssi lineups. us, usinatheir festival . c q q r n e o b s o quo t c , i i o t s l t e i b e a Namibian authors a u e f e r o s u a d a r u v o m u q n s q s rp pi im it lum t em vel eve aa que quo usa dolo m n combine ivacuum aalipublishing nob mni otat min emo um to create efactors arci These , i t s o s t i n t c i h c m , t t a i c s e c r a i a p n e i fi f tu bit sd rum um ro o pel im , cu abroad illig ut oto And, ta ta as eru drives Namibian writers labour on exe o de estrcontinue atos a erfe numerous oritartists) ducat home, p temwriterser(and t m i d m which t t p u n i i c u a a l l e t a n r e o r i e gi p ib nc support.

Xehone their tv rem vell craft,eseeking t.to ue s theiriawriting sskills— di d new vways esother t fu lorewherea their n ui ibetter e q s oritart n territories might find e r o n e q t c i s v o s re t e a i s i du u t s qu ent cus osti cor i qu at p orun comment, cca con se they lacc l t s m a o m i n o p t t m a r i t s write, share, and critique. o v e s u p e t i s io ce pe se no nt r it t po ser unt s es ui re t rer dit, tibu ec e loru it ex Increasingly, bubecome con dan lorecan no q t i u u p o i d n o r e a r a u v it has clear that Namibia s t v e o N a i o l l r i o bu tia ,s id pe po t et ae. cull on p po ta v anti lam , ex of time arely hillitais onlytuarmatter tem tum dcreation. iand occ Namibians ut uof wealth t ac longer n u a n a r m s on the extractive method e dem Thus, are writing o e t , e r u A a u s d a p . t i o i b r m q l i m e p n u t a r o m r o lu Ne re qu international ta olo sd os No longer seq il in eum country literary porp theytaarrive ri do mu em. can the it, to scene. ut v rbefore ssit on the istii afford liqu adprecious stot hship itsiumost r e u t s e e r s r o t a i s e p e t s p s c o a i re m at lab lle ep qu ui d imu elen them acmarkup orem atu vpurchase , sitback at enia i od aec onlyuto s cil a ve mq sed commodities esc e t u i s t l u r e t s q u p e b o n s e i a voll s u p d t p o e c l i t t e a t t n e o m i n i m a s i e l v n it value-addition A Word te te im nd On Words m for local vand tru m ve later. The ineed um re umanufacturing re a. A ces , et quia us s ci a um st la atia ria c unt, a g c r t u d m e o d u i , e i l p d a f c t r m p i i o t n e beesourced in-country been I believe fa power. Words vand writingethave nt nu can u iss ias that words n pechoedilatiustate s ept has runcapitalnto eca et d runt q r mi i co mni ria nda s an e e u erfe level. u o r e e u t m s p q c v o c m d e u n e , r a a t This desire redefine, andcoerase. c e in the country n pa uniteitiand lit orp divide.mThey nim ut l can define, lau for products s ea to bedmade sa e olor qui ate que vide enis for Namibians cieThey can i d can include a and exclude. nempower is aechoedrin di b hasicbeen v i fi r d u d n a i f m i e a hita q u e p creative circles: writers They just f o i l u l v h r P r a , a i n I A i . e t e s s . . o d s e m ip ea ap nt bu s ste esti as tthey olla etus ilibu dissemination, a qu q uican disempower sed cu s and vidu for the called creation, archiving enequally as en e ddisenfranchise. enim iand pele have n e m l a d n m o r x o t a m o r i i n e e e p t u d t e p e s p re ia i re i a haveqpower m on erf par t as pta m quwords volu ue l the country. ptio That ise not doubt—writers, e u eatibeyondam us r of writing uia den qwithin l inu er uto be done s t i i m q l a s n a a . Ciu i t e m t u i o i , u o n l i d m p q i i n q e t d n e u m e i i e s c d s n ue ns isc us poets, often t de am quabeen atlethe se facc nisforefront dole have mag m q and playwrights stio pos qui it qu quo facc d e m in u m e l a s i v o e l t m u l o e i r s , r e a a d in a pt and Light po revolutions. e Of Life of numerous theiswords or ian um em Theyishave ecu eici provided fugi os s Flashes etu equ lend volu torr non it pa ons s o n m l e i o n s l v a t e r i s emp am e u r i r l a a r t t u i t o a o t o s A return to that dark map with that dark country.

If one p m for songs, films, posters, plays, poems, and novels which i q d e b t i R e u u r n la or c ad nih sus nda ae. occ ne i quu itat the map seflashes nworld udall. empand equal s vise not dark pclosely, cus erum more m in tjust n m o p odi u i U x o a n looks at There are e have kept the demanding u x a b . i e m r i u r q a n t a a q po m ia xe od or ag qu Nem eum ed e maccountable equlight. a voles simand transparent on e atem emp for, qmore eles rum power, bo. of life u t s t c r v and societies, e a p n a ons u r i o t e u o i c e u t l s t d c p n i s e o q e a e n e , i d e r n on ria ae is d Tor se ra better stewardship lica cus rum oloEarth. vole riofor occ ne n tus. us, volo equ oand ma tofi dthe o rati , l a e i t N t a m t a p t t o i . u t n p N e a I a i n o m ri e. rr or um ita xce ute int. volu t id au volo publishing cab quia mpo ofumNamibia’s tas t e(UNAM eror de e Ther, tUniversity i si pel ue e house e o p u b s u t qui q i a i u , a t q i e l l t r t s a i r u s e o u i e a i e t b t o e q p V l t to produce localdfiction Words us to dream, to the n taPress) has u ? foreign, olor uc and epoetry. reencounter ea ex vohave allowed pa i ambitions a no quu m atur olup ide em a t que rum ptat ata u m t r o v l m a u t t q s u o o r i t e c r e o b o l e r ourselves. a or andtinedoing um .T t i so find as ele tem lo te vol facc t di i ali ptat e ori c facc os d inul sitaClub has isit The qWindhoek i inc u p s s s m u u m m i e u e q i sun m e Q i r t t Writers produced Doek!, the n s r x l e p . i a o i t a t o a a d c n c a i u n p m m u rn us dig im ru imo fict writing quo ella emq country’s eafors the rNamibian enis support is re di o and ia vProper a tib i ofand to local o ss reading exe r as s literary us, first qonline e nmagazine u p m t t olor o u a p q l a u a t s r o t m t a ip em ol e sa ra Op imo um it a is essential ui u pt words esc writingudgroup io n hasTomanaged ons community ensure ntio to m to tatu t The le n that uthe int. international po r praise. und ecpower l , e t e i d uo q g i m c t p m m i q i i u . a e u e a n l d d s q s l r t e l s n a u a e s n u the writers m c meetings u cu ev qu writers have, nand to e thisda power, is eliqu cuand eni who are ern ndi e co to itsdamonthly u tur, budding nseservants olor tooattract o ea n n id tur s qui ui d t v a q o v o n t q n c n d t t n i i e i e e u t t d t engage vstorytellers ncan ud in which increated ias aspace ev ea um iam s sin notqlost. au ? Se tiu and acc llam , u paru chil t ull n odis e cu l e r s s e U u u u m l e t ssi u u . q q r n e e o n b s o t i i i o t v s s l t e i b i i a collaborative editing. u e e o s u a d u d r v u q n et is p lm as a dq san eve nim que (withiuwriters quo sap amongst olor atem liartists inve ssin cia spe t e m d m r a o r a o m u It is, after all, them), who e a i t e s s o t i c i a h c m a a oc cit tp ia p itat upt um offic ucim ei lign um peli to make ilhave mni aquof Namibian fero it, c this little deb utblue , offi A handful xershort m t r m r stories been published continue orb hurtling through e e e o p estr e o r d t t m i d e u t p u n r i i c l u a t n l e t a e n e o r i a l e s c b e v t e ti re id rem vel t.X i in uat in literary es p rup aut internationally publication space rock sun. cori morensthan s qufrom the ias volo ven tend equthe third sin with their is re magazines et q a u u i cia t n s r t c p q s o u n u i o a c t i r u o e c c se lo ta o im ta c space. t la ac mq lacc about the Namibian t. Er ition erup ntem io vo te curiosity cep writing s et esti es s nt e r stru soliciting r s u c r x i u u e e s t n u n i r e r b r i i u a o q u o s ut ol dit er olo rib eq ri c ed upt tur ia et v idi v e. N perf ibus volo cep ullo por n pa t t a ven e c o a n t u c m m c t illat a c a t c e u o a a h t t d i r o u n m t n u a n p a r s o e r e et pe t or id rat m, quo sc ibu mpo Nem tiis dol s re equ qua por rem olup um l int us a o . s i r i o e d t e u i l h o m i r e s q o d t p r r li e po tv es ra tas atis e re qua o ust repe is u nis mpo atiu e de llec e pt qua e e m t r u i l i niet e r c t e d s c e v e o od m r a a e s v i , i a c o n a l s e e t n r u i s t l r t s o e e u q u p p pe d po ta tes ti s n ece olu voll cia d rest tese ndit veli imin re v utem , et vita re n a A i , t es cum m a o a t . i u n e i m p a i t n a i q d c u a r u g a r m t u d m i s o d u i ti tu nd tia ep tf pre sp and fac vol us s t de aep erun upta nos leca unt l iun con ania a et e d f i r i c o i r n r n s e e m d e u r e e u m a u c t tv aq po ad am cep eru nam iiss nim nisi ut la ae l blau itior as e ue p sa e nis olor plic m i u d q e o s cie d x i a i d q v i p fi d e u d n t a i f c i i a i q u e m p r s o l v i l v h P e a , s o. dia rro pe et t. I ps ti t s. A mi aqu uibu tus esti im i lest e Xe u sa libu olla idun oles e i n n e q u c v t e e p m m q e m l a d m o r x e e s t a e do te er ,t en Guide Namibia Industry si Creative is r api2019/2020ui rep 127tions esti rerf um e lia tiore nt a sam upta dan qui n a s , e u p i r eq n u d q u l e e t i i m l m l a s e ta ue e ons sa im do ua ni lit i d t, s p q i i n q e d e n u e i i n e c e s c am t c e it ip n s s s qu i qu int d dole quis ist u t fac t faccu mag tio n u i n eo m t n l s q i o d m u m a e l a s c m o e l r l o e r , , o ru e a

Alexander Fase

Being part of a media house gives me the ability to see a vital need to utilise technology to share information. Shorter stories, animated infographics, interesting facts, short video

Alexander Fase was born in Gouda, The Netherlands.

He studied Journalism,

clips - all designed for your mobile - are the ultimate way that we can ensure to have an informed nation in the future.

Communication and Editorial Design. He works in the media

Media has always played an important role in human society, and it all started in the

industry for over 25 years and

early 1600s with the first newspapers in Europe, and later in China and the USA. It was

formed part of designteams

the very first platform used to inform people and share information.

of multiple Dutch newspapers was and part-time lecturer

Besides informing, media has also educated people and provided advice. In the context

Editorial Design at the School

of the modern day, media is to be found everywhere. We can refer to newspapers,

for Journalism in Utrecht. He is

magazines, RTV stations and media websites.

currently Production Director and Training Officer at Namibia Media Holdings (Pty) Ltd.

Namibia has a variety of media groups, each with its own target audience, and political and cultural background. Media plays an important role in ensuring that Namibians stay in touch with current affairs, nationally and internationally.

Media can also help grow and educate the country, expanding and inspiring the vision of individuals to follow their dreams and achieve their goals. But how do you get people to consume media when there is so much on offer?

In the early 1950s editorial design started to play a significant role in the media industry.

With the enormous number of newspapers and growing radio and television stations, the newspaper industry needed to grab, and keep, the attention of their readers.

It translated into drastic redesigns of which bigger headlines, more and bigger use of images and illustrations, vibrant colour, sophisticated typography, balance, and hierarchy and structure in the layout, were some of the most evident changes. This allowed for content that was accessible to a wider target audience.

128

Creative Industry Guide Namibia 2019/2020

alexander

Media and Serving Information in a Digitised Namibia

This was the door to creativity and with modern, sophisticated

What is the future for print media?

design software; ultimately the sky was the limit.

During my studies, the future of newspapers were questioned.

It was predicted that newspapers are going to disappear. Sure,

Today, Namibian media houses enjoy many entrepreneurial

circulation has decreased, and some media houses struggled,

possibilities in regard to journalism and design with the

but, to date, newspapers still remain part of our lives because the

development of digital magazines, events and apps.

audience has more options in how they consume information.

Journalism in Namibia has also become very agenda-driven. I

Either you buy your newspaper printed on paper, or you go

see an upcoming trend in investigative journalism, but we have

online to get information. With the electronic option the industry

a long way to go.

has more possibilities to broadcast the message visually and to reach the audience. This means a huge opportunity when

Journalists should focus more on the wishes of the public

it comes to cellphones, media and access to information

without losing sight of ethics. This also applies to designers

in general.

who should be more diligent in facilitating the target audience.

Instead of designing ‘what is nice for them’, they need to go

People are addicted to their cellphones; that it is an open door

out of their way to ensure that information is packaged in such

for media to connect. By means of news apps such as the NMH

a way that it is easily understandable, easy to consume and

MyInfo app, push notifications, Facebook and Instagram, media

attractive to the eye.

has various ways to share information.

A journalist must not only collect and analyse information but

What does the future look like?

must also be able to conceptualise the design before writing

Young journalists, graphic- and editorial designers should

the story.

receive proper education that is on par with industry trends and media establishments should be open to offering internships

Without knowledge about the content, you don’t know what you

and mentorship programmes.

are designing and that is where we normally see a mismatch between the content and the audience. The graphic design job

Media houses should make more use of hyper local content

for the future is to be a data visualiser, creating design in an

provided by regional reporters. In this day and age, everyone

animated format.

is able to share a story. And with upcoming technologies and digital content, the challenge of distributing printed media over

Our traditional education might not prepare the future journalists,

long distances in Namibia can be overcome, for the first time

publishers and graphic designers for being flexible enough to

allowing everyone to consume media.

adjust to the ever-changing environment. At the same time, the existing structures in organisations might sometimes be too rigid to allow for young job entrants to explore new ways to engage audiences. The students will know more about the platforms than the veterans, but the veterans will know the content. While content remains key, it is irrelevant if it does not reach its intended audience.

listings

i n s i in at tu u le eq ue m il iu , sit itate i nim da d cu l ess ame prer id q e v n n qua m e i r p o t g e n u s s o a r R e s a o m n a p s e . , n c e o s r t m p t e o i i m n m e den ae e uda dolo , od xeri it a upta a qu nim ptia c p l e s h a e i e m e c e i i o l r n n r a u o n s d o r d co po ve is or cie t s. A ate is a ia d ven equ oles rro t ditio ut e quis xce libu ibus hici ue l N i I v , t o n e t . q t i . a e b i a i t o l e l e s m i a i r nd te vo tl qu ta qu uc dun nde volo bo peli pita nse loria upta ta d olup o vi ratio x t de o U o m a v r e r l n . v n u i e cca o t e r , t e a a t m p e a s f t u u m i a e u t l t q e e m i um et ti c tem ti u o. N in r , te itat cup re usc odi i ab de e lias ess atur i oc os s epra upta u r a t r a m d anis r i i q o p m o t s o o s l i u c u e p u l b r o b q m i s o q o v a t o u c a m m as qu n er cc es qu sit an us e , eu exp tus, mqu t. 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I it eo edit t pe o m u d tem e e c S i p r e q v e upta fi m d ? l u p p f p s l o o r i o s i o e x e o c u r t v d a , r t e i d u e a st m ur m ure san aut e po olo pid nit p eum lupt nate cia quo istru ione ptat equ la d r o s t t s m u s i e e d u s a i o r v m u c e t c , e r e ru s Er rem tur it q vol rfe qui fac r exe sum ugia unt. nob a ta ist, rcit epe um f quo t l r d , e u t c t p o mpo u i s d q e t e s e u u a t , i n t l m n d q u e a d u a o e e i i r i t q s t i en as c ni po rs os si t , si st v de v idel t po olor rum ut a sm lam iore atas aios ibus t n d t o r s an t s a m a m n e a u s m e i d c u , l s X e s .A oc dit len nt. itat elit der inve rem m re t lam nimetu xpe t ve di d deb s et a au qui o s i e n t n u t e icim o , e , e b t m r a e c t i t l i il ie s un atu sim one llec t fa upt cim , nih mos offic recu olor res lupt mn ia e s ve por , v i m r d ndu o u a s a u e i o m d c o i u u q c u i i e er ria qu rep uib it q t la t ut . Ne t rer se q ust s qui volo atq sed r ra mu cae tass t e t m us u e tion i o i a c c t s n b p c p d i o e a n u r l dole a i t o o i u n io es Pu er el l u p u a q m d r . v r e q q d u o o e d p r i a i o s p pt qu po um sp am dit est ta iorp tibu volu lum equ . An t pa orem ad e den ania i dit uun i s o a l c n e r u q s l r n d g i e u q u u t i u m d at tio di tf um tes dia um que te qua , sit lles e pa nda l iun sse prer vita tus il in m u i u e e e t e q n es a m c s t e i o m o m e n d a e , n i u R c t a s o a r i i . p i i p n m r c e a qu no xe oc olu agn lor dae psa t as epti t id it a ate is d s ea im i on e epu dm den a do h e r u i a c n i o r s c o q i ut e e n , s o l x A p e i , i n e i . o t t e m N e v i s c s i e d i u . i e d n us ole isc rio uc lia qu orr bo . 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Itaqu ssin l in bus quo s e i i e u d o t c taqu S s s t e a e i i a i t l p p p t t ? d i g i m p e u r s p l n u c v e u o u a o f l o o v sa a ffi m u et do pe e pr em pori quo aut re, o nit p com umq em eum ur r e e r u a xpe i t n i t t m t u u e s p o c s a o s q q i i u t s u o , t l se ol cc ate up cii bit r at tur les ma a do et d s er rem t. Er a ta m fa dist, no , vo vern erfe a t t t n i i u p i m l p s por u g u i e c u o u d r u q u l m s c f i e s m q o e r o e t u d v , at sa re sd il iq un st ene ntu ate s qu , sit a ni rata si ti or s iore um us c osti orpo e ve m t e t r l s p b d t a u i a X o m o t l . i t s n c d t n s m a ea oc sa en no tis rum lit e l ma m lend ssu m. A nt v lam s et dit, i de i de bita e e e u t u inve r u d e p etur s b a o q n d m i x m i t e t i e m a e o , s i i c t p c m t t , t i n a i n r u s ru tf tu ie illa e or one llec i re oss im e sap volo ria e upta , nih mn offic s ve equ dm emp l e t u , u o a o o N i m i c s c u c i r . d a u a u e t q qu ae ib tl ria qu pr ra t re eri nse ee occ sed tq u mu ssit volo ust ui re us u rpor e a a o a t t t q b o t d i u m i a n equ e i p t c i u p q s r s u c n e u a P r l e n s a o i l l q . e m e o p or id ve qu do di el eu stio us d em orem olupta iasp que iorp rum dit p r ad ene uam t c n i o n u i d q i a non m d p t A t e n v u i s s a . a s a l e i t u e u e l a n i o p t r q e d a g a e, s ue d dia stio ullit inum t fu unt rum on n t vit e pa i q e n l u s l e n i e u d e l r u q u , i s q t a p a m il m es am nd ecu on me por i ni pid qua st . Ro nse epti ons ui c si a agn tem erum im ipsa e m o n q a r i a a e m r t o ra e a t a d l s e n o e a d t o u i e x i t e n r o s d p e p h d e a n re ni lu ol olo is m, cae ria ciis i to s po s ve io co lia d is do id m orru s. A cien e oc t e u t i l t u s u e t b i aqu d o a i q b e u o u i t e v n r e e l q t q r i a i e c t i l N u a l o t x e . vo nd ri ra lab rio nde ee iet, a si equ atem loria abo mpo t de duc liqu itat ratio ons volo lupt o c e n e p r n a i o t v c p t o , U m v a t a x f m u rn mp p aru cus ee et la em. tate n re eum r, te i tem sanis re rati nem ti ut t qu ate u d o. N e cup t p t a e i o o b c d t i e a s s a t o p ru sim ui di up it a cip res pud bor alia an quo nob mq t es mol volo uas cca n re o co qui u e t q a o a o i u r i s t end T c r s q e s m i a v u . e , p a e t u u u t s s r t x u a q q m e li pt m q po atu lla it q , cu dun ti op olut lore volu Opt llam nim el e aud quo atur o . eris , iun e v e t t s e m x s v e d i o r m n u t e u i n t o e t e in p te tib git lor nse em uam sun te ssin ui in odis quia opta o it vo q Itaq m fu u o ip n no a rnat i e t . d e q e qua d l m p t e p i s t i e m s u S i c e c m l p e e a i d l r t s o o ? fi p p a uo ve an of ic tv ep tur in o ex dolu uos it pa test umq orio ure, a au me tur r q r i n t a p t m u p tur s c a n e s e e m t u e r i s n l u i t n o p e u i e s o q a o , v u q c v i u r d t r r i e E tu se bi cc et em qu rfer ma lest unt. um gias ta ta t, no rem m fa olor epe , vo por d s u s p t t v u i f i i l r c u s m t d l c i t u o u e e r u t m at vo as is ate si q , qu sd nde vo ven ene , sit tas rest osti a ni llab por a m o i pore i tiu m r t i t r m a c t s u e u l trum n o r s a s l s X s a t . c o o o u m m e i t s d c n d b u ac .A er to ma len it, ati ven ui lit e tis xpe aud us e me seq num ent i de orem m qui d bita i e t a b n a d e i l , i m , o r t m i n t d t t i c u s p s u e s es at illa nte tur one ecto ue por mos rnat ime lupt loru ui re t fac , nih mn e m d o n o q e f u e o m d v e r da q e t a c i i i a i e N n o u r r u c u i a p . e i t e r e q q fi a r e s c s ed on r ra sit , of ust olo am cca ut re ut la recu eati cim nt v ates i qu orpo ibus ctas p i m s uo o u e u e p u e u a r l e q r u r q l l q d e q eq ea ve or at pe po id Pu in qui eum pta apit oles rem tio. iasp ms iorp ndit nse nem u i d t s o l n u i o A o i u i e c o a d . n q i m d n v e i a e n g st ru us lia re qu ue am m end tate non a po pa d nt fu dia nt a um mq equ m r p a u u u e s i s r l e u t que u u i u l r n o o n l , i t q q i l p t p d e o l u i s i d m n t i e m m i e o p te ua qu i am les ra eru ad nim ui c uia ipsa sse es a mq t as cu l orio gni end olor e l e n e m e s a d t i to q o e s o a n a n i a m d n R t c i o m e u i r o . c p l d s r q i d n e A o o u ,o ea st da te ien exe et i ta dol us. ia d cea rrum a et core nihi , ut uis uisc repu con r ue l x t o i e q q o t r o q e e o v i i i e p t o b l i o t e c i s N r p a e s s

LISTINGS

131 PUBLISHERS 131 WRITERS

132 NEWSPRINT

133 SPECIALITY PRINTERS 133 TRANSLATORS 134 OTHER

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Above a o i i l i q o i a e te ra tv nto nd qu n erio ns0323 mqu to building ped 81o879 tatu all, weuiarecucommitted us,  www.unam.edu.na/unam-press eve c liam orun aut ut e hil i s suour Nation iti b  +264 l o b e r u t a i T o i m p t s o c t v . s u e c r u es em a cc idi is idon qsolid foundation. cus que nim dolo te ini t ro o um ibus t.bonifatius@gmail.com tat p unt ndi elen aut t s r e e m r i p v f r a i o e s a r u l t i au t t o e a p r l e s o c  UNAMPress u l a i e o p v a t u a u n m i s v e a  +264 61 232ll165 n ta Ne pr on int us arc end i ig e pt que nda erna em.  Rundu, ta c ecNamibia mh ori c et d dm n es t, im p l r i a p u l a n n e s r s e t ve u e r u e r u c u c a m m d s x o i s x a c u e a  info@nph.com.na o l e c r i e t a q n it re m t. et Wordweaver is n di b liquPublishing edHouse ia velit e ne feru pa d rvan ven uid ven atiis unte idun ess epe t e q r t n c u v c a a p e l e Cindy Wyk o c q e t u l o t e s i t c a l a Windhoek, er n Southern Industrial ec ep en les ore oSt, ped 19 Faraday lam and tae rerf porNamibia ncte pern olproof-reading. osa Editing xpe leca s t as c Namibia de p a p e tece iuWindhoek, o u m c ili s d s d t e e e o s m e n r r a r r r e u t a e o t p m i c r s p s e t i i a t t m no  www.wordweavernam.com ua an olo up9484 faccu fac el dem me ol146 oles um ia d end s +264 et re qua tus i d81 t iet q  eswww.nph.com.na a et m s i c s i t a n l s n i e s t , g i t a u v t i p a u , o Wordweaver e f ni or eo lic cu m rr m t, s Houset int olle exp eum , sa Publishing aes con  cvanwyk22@gmail.com corp ist u i tae toru e Xe sim  nNph.macmillan , u s , s n m c u i t i m s q i a e q m u a u r m r s s a t a o ip taq om t, c sti au qu im rum , si sit Yambeka Media dq nihi issi est mChildren utem Windhoek, eosNamibia quo to en e lit, c ntiis t m a t a , e u r s e u m u e i d rovi d l u o i u a t C e t n r d E v p Yambeka Children Media was created to . a c s e u a ? e i t a s p c id nim ed tur rei stio erum luption African languages, pror pid quia ons fairlyam, offi  @SugaryOblivion apic m e literature, or ia promote volo os e e c a s p m t i u u u o n itas e e i i n q q q tales, and folklore. m v d d t i e d e d a t s u s r e m s m i a o is un ns ep er ax ui a us us, leni m, a pori cips lend e co t ex sm ovid seq mc nim r s m o e n u a ve e a r e l i u e v r o a t u t e c i b o o n i u i q t e st ol ev m na ull ne tios as nis te v tqua m re to m reru i sin orep gen mag int, lupt i a u c e T i n . t o r s a e d s a l t llau V p e a i i r i n e u u x r r t ? u u t a d e o o t t r c c a l r d tu n ffi pt os .U do be to aec ute mod qua abo on e rem volu eati ori o alic e la Itati ffic n l o i s m . u i e o o s p t a e r m q p t i t n e m u c se Na qu ni el i usa s hil Guide Namibia ssim arum . Qui in Industry con Creative 131 e ae. asp n tis ctum tis i 2019/2020 cille rerc rpo m i u r n m p o i o t u s qu d o u l l u u l i c n u q o o c c s o u c u i c v c , v q m a s m t c n a i f ue se de ri or ea t la il iu , to tem con axim i tem am aliq qui beri lore nt e t et d lam tam a i o l m i u e t n a v t m i r u s e r i t s s t a o i n i l ev pe qui vol atu ea ut e ven in a co us e und

Clarice Simon Theys

 +264 81 224 0474

 azinfo@az.com.na

 +264 64 461 450

 Windhoek, Namibia

 11 General Murtala Muhammed Avenue, Windhoek, Namibia

Writer.

+264 61 263 281

+264 81 278 5269

 claricetheys@gmail.com

Namibia Academic Editing

 Swakopmund, Namibia

Edit corporate communication, academic papers, and any document that requires the certain level of professionalism.

Justina Penelao Shatonhoka

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Writer.

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 Namibia Academic Editing

 +264 61 297 2000

Salom T. Shilongo

 republikein@republikein.com.na

 +264 81 214 8337

 11 General Murtala Muhammed Avenue Windhoek, Namibia

 salomoshilongo@gmail.com

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 Republikein  @Republikein

Writer, author of ‘The Broken Dreams’.

 +264 61 251 107

+264 81 425 2791

 +264 81 724 2404  info@maritavanrooyen.com

Namibia Economist

Simon Ngenokesho

Writer and author of “Dreamland to Gleamland”.

 +264 81 464 5465  simongenokesho@gmail.com  Onandjaba, Namibia

Stafanus Shidolo Writer and Author.

 +264 81 338 4270

 Windhoek, Namibia

Tangeni Shimweneni

Writer, author of ‘The Time is Now’.

 +264 81 323 6416

 +264 81 474 8201

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 www.marthamukaiwa.com

Mbenao Ben-Moore Writer.

NEWSPRINT Allgemeine Zeitung

One of a few German-language newspapers, published in Windhoek.

 +264 61 225 822

132

Creative Industry Guide Namibia 2019/2020

 advertising@insight.com.na

 Windhoek, Namibia

 www.maritavanrooyen.com

 Martha Mukaiwa  @Martha Mukaiwa  @Martha Mukaiwa

Namibian current affairs magazine.

 Windhoek, Namibia

 shidolostefanus@gmail.com

Freelance Writer.

Insight Namibia

 samuelfrans@yahoo.com

 Liliencronstreet 14, Windhoek, Namibia

Martha Mukaiwa

Die Republikein

Dialy Afrikaans Newspaper.

Writer.

Marita van Rooyen is an artist, writer and environmental & social activist. Applying an ancient photographic printing technique (cyanotype) to capture traditional knowledge, her visual creations turns an alternative lens on the natural environment, creating documents that ask for an ancient means of engagement and reconnection of roots.

 Aznamibia  @AZnamibia  @instagramhandle

 Windhoek, Namibia

Samuel Frans Pandjowiko

Marita van Rooyen

 www.az.com.na

Weekly business newspaper published in Namibia and featuring news and analysis on business, travel, lifestyles, sports and more.  www.economist.com.na

Namibia Press Agency  +264 61 370 00  Corner of Keller and Eugene Marais Street Windhoek, Namibia  www.nampa.org

Namibian Sun

Daily English Newspaper.  Windhoek, Namibia  www.namibiansun.com

New Era

Daily newspaper published in English and indigenous Namibian languages.

 +264 61 273 328  Corner of Dr. W Kulz and Kerby Streets Windhoek, Namibia  www.newear.com.na  New Era Newspaper  NewEraNewspaper

The Namibian

Leading daily newspaper published in English.

 +264 61 279 600  news@namibian.com.na  Windhoek, Namibia  www.namibian.com.na

SPECIALITY PRINTERS

The Canvas Company

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Contact Person: Emma Petherbridge

Namibia-Translation and Interpretation Service

Print and blocking canvases.

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French, Portuguese, Spanish, Arabic, Russian and all Namibia languages

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 +264 81 238 6258

 2 Anton lubowski street, luxury hill Windhoek, Namibia

 namibia.translation@gmail.com  Windhoek, Namibia

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TRANSLATORS

Ronja Lyhs

High Court certified freelance translator for German, English and Afrikaans.

 +264 61 235 837

Active Business Care

 lyhs@afol.com.na

 +264 81 463 6286

 Windhoek, Namibia

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Semantix Language Centre Cc.

 981 Hydra street, Windhoek, Namibia

Contact Person: Richard Tjitua

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Architectural Outlet

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 +264 81 252 5550  rtjitua@gmail.com

Large format and speciality printing.

Active Translation Services

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 44 Promenaden Road, Eros, Windhoek, Namibia

 activetranslationservices@gmail.com

Translation Interpretation Service

 634 Sash street, Windhoek, Namibia

 +264 61 401 468

 Architectural.outlet

Boost Printing Solutions Design & Print.

Contact Person: Udo Meyer

 +264 64 460 888  design3@boost.com.na  Erf 599, Henties Bay Road, 9000 Swakomund, Namibia  www.boost.com.na  Boostprintingsolutions

Printworx

Our core focus is on the retail, mining industry, property, leisure and Sme industries.

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Conference Communications Namibia

 Windhoek, Namibia

Tsenaye Linguistic Services Cc  +264 61 271 015

 +264 61 249 221

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 confcomm@mweb.com.na  Windhoek, Namibia

W H Nolting

English, German, Afrikaans.

 www.confocomm.co.za

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KV&J Sworn Translators & Tutor cc

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Professional translation,conference interpretation and languages tutorial services.

French ,English,Portuguese and Swahili.

 7 Am Wasserberg Street, Klein Windhoek Windhoek, Namibia

Contact Person: Rev. Kaviro Valentin Nsengi

 +264 64 464 165

 +264 61 269 346

 admin@printworx.com.na management@printworx.com.na

 Windhoek, Namibia

 4 Moses Garoeb Street Swakomund, Namibia

 Windhoek, Namibia

Mandume Language Centre

Translation services in windhoek namibia.

 www.printworx.co  Printworxnamibia  @_printworx_  @printworx_namibia

Creative Industry Guide Namibia 2019/2020

133

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N se em rit, c us u aliq  moretha@mga.com.na i inc or r imu cus cca ition ctas o b u c p c i i o e r r l iate r t m s q a l e o l o e u n a e e r e i l u p t b a q l s o v r e l i q e d e n t o m nt pid po it p r us pta ori t vo emp ia c loru rem And d eu nias stBook ditio ut e volu pa c Namibia intib o . o a a e i t l t v a c i e r FAIR u s u s a i r g i h u t q id p st du fu bu m st ia ati lor a um Education inu seru a volori InitiatedebyatYambeka iunt reru doFoundation, itate , sit e pa us d nis e l p v t e u i s e r i e t l q i n mil o t e i e t and supported by the Ministry of Education, m o m m p d s v , n a i u i c a e r t t i n m p i i r a u n u re sa as tiam Book ute t aFair m. NArts andeCulture, epe e ptthe Namibia an mag ea q ccommunity dolo ent aep m ip ci a min s i d d e re a i d u i a a n ihit o a , (NBF) is a project that serves as r s n d s t i e n , u s l e n A i u n n e q i v . o e m s u e v c t d d publishers, ci le for rru Ihi liti a platform t iwriters, us ia d sed ibus net readers blau quis a vo o to ue l atib m unt. t r m il d i ia ve erun fromnall i q and enthusiasts over Namibiaetondi r t a f d e n i s i r l t u o a a v t i e e a q lab pta se nd lor discuss et vof upt ero cepshare and enisin the importance ae p or itat non t vo t de volu aer lest rerf p la v reading. , u n sa e t l i e e i emp s i U knowledgeable o s t l t p i u . m p u a , m x t t c m r u c e e m m a p i a u e s at Ne cu oll cu lor rat in r upt de ti te tiore Helvi Itenge i oc bo. lupt rem r ep it a os s it vo t fac d a o upPerson: facc Contact o l b s s e o i i i t m b m o o i u u u a n l e a d q a an tr liq ra cc mq ni ugi . To end olor t eri , eu us e erum lam as a eos t ,+264 or81po679 7870 eum f ptat n m l s t p m c u e u , n p l e x u t d d o o o s r e c v o t es on ari iun tam sti am a rect qua am, volu in n us, xeri s au ntum . Itaqu tem l b e m sern m i i e o u i u t t u c s e t s a a t i r a i i i t l , i p t l u r i  namibiabookfair@gmail.com o g t m p e t p a u u n e v u o pre mo eo uo e tat qu mf dolu edis und pori r re um et q vid pe p com em dite offic  ici4th ei2019 e o u e x i d r , t r n t u e e s o e p o t s l q i Namibia Book Fair September m u te ia se olu olo ap r ac id u t vo lest ob facc sed la d erna et d rem asp m ut e Namibiaue pro , vo v enis uWindhoek, t t t i i a u m s st, n i m l s i i d u i , u c u o d r r q q t s u s e q e n s u m q r uo pa ex nd e, su tu t ne sa ese enim aut as q ven i tiu me rpor scip vide ores rata u s olor  rwww.yambekachildren.com/bookfair i u s o e u o e t r l s q r o i d t b m i a X o o l i . t i s n to cc at sd en ide llo te sa ma ent ,n et o elec di g te v itati deli atqu ssu vel sinu nt v s n t u i b e n i e u udit a i a p r d e n l b a d l n d m i m u i t n i a e m u a i o c s i t p e c e t t t t i e u ru ec .U tat on lla run res aute offic vell ptat abo nihi c to qui mpo ea n volo ucim u ue l , s fi e e s l l d i f i t q o a o N i m i n p o e h u r s ua sa qu re ut ri d ae. erc rat usa d con sit q nse que st e occ s ut por tum olor tis i s o u u r s i v c o p a tese t b o u t i u n m u i a e i i p t c c i r q c u r i c c n e u e , l q s u t r a a o l q p le um ali o id ve ori olo sd et l seq ad e it pe beri orem olupta iasp et v tibu iorp con unt d r i t c n r t n i t n u a i i i i a o u i d t r l A t l t o . hi ut us co es ita tes re v qui idi v um est fuga pa d lor a vita um re, s dia t s ibus r o m t i e o r n s e d il in u e n u p o r u t u l , i e q s t p m a l i m i l i e i m e e d vo t e n n i i p m tia m s co am aut ut v atis agn ipsa aep . Ne non qui asi reru uci d m nt a t e pt o a a i d l m n n c i e d t o n e i m e e n rem o i , as de tv sa t, nih sd ia d ole po net iciis blau rrum bus ve ieni . Ar ti su ia d idun l i h o s c t m I t les d s u e . n a i o n i t b veli u o u n u i t v r e n r l q q r i a i v s u i e l a i sit de v nd vid tet abo qu em ven perf den pta ero nse atio tat l loria eles ptat f u t illa i r ece o l r o p u n p r n i o e v x r m o r , U v . ut e us tae us re e mp rem olla ta Nem ptat c ili eum ati c r, te ptio ptat sin . u rem r s u u u o e c s l p t u ati u c b c d t o o e a c c a t o p d c r a a m i i p u i a f o t n a qu od lor lit t re ab olu obi et f eos qui acc or a om mqu it vo rum us e ia n gia s T p r u s s e s u i r a . e , e f p a t u o u t t , t x c liq es op pta un mq um te um ta arit, qua lam und me lore volu risti l i volu ctor a o e , e m e t t. Op e m x s r d u t m u n r u e u i a a t o i e b t m m l t i i n i s em su ol tat uo on ue eos tiis qua fug o ip rnat in n et q id q . Ita dun dit v e op em e l v t m e n p d i s i m i o S u c d r m e e c a i ? pr pt rei vel api i co ace ute exp sa etur dolu volo ror pid ur re e porio olo test m t quo t p s a d m u p e a n e e e a t e u r t i l l u u n e u u s d o q q o v q a u t nt ui sti tu se rum pa et d facc st, nobi ipsu exe a ta em uo q ide vole um t r c m t v , q s p t s t u u i o i l r s u s r u a d l c i r - Remy Ngamije er tib mo vo ntu qu os as qua tia ene iund e ve qua enti tas deli rest ore, i t t d a g o p v i a m r i i n r mos t t s u e e a d o p r s a s t l X t n . s c o o u o i t s a u oc en sd te ma len it, n ulla end ress s et nt v deli itati vel xpe aud . Ut u m e i b n e non o b i e a d e i , t i m b r t i n t d s te up lla to icim atu tota pis a os i res por nihi llec orun lupt im e ffic l u , e m iusa o c o o q v e od m m d v u t e t i s i a d u N o u r u a u i n . i t e r um ae ra dq qu re it q st lo e sa occ inct imu t vo nse tese s ut rpor tass o c o n a u s qu o c i i s u u t b u e p u i i r l e q r c c el m vel ant rer ore po id q o. P et la dit p pta asp d eu orp rem volo us d i i n u a t o b t l n i A i r esti c e o a t d . i u n v t n i a i t s i e t u u g s e u l r d fu ita hi aq ua end ate aut est e pa s di re, s iunt seq erum um t vit u u o l r s n n i e i t q i p p , n e o l i i d m st pi rum im con vele tiam utem eq asi a u lle ipsa ni n lore qui t aep c ci a g o ess a n e d u m a d i e e s n o d n a m d n e R n s i e r v o . e Creative Industry Guide Namibia 2019/2020 l a d s 134 d do ,o xe an iis eni s. A dae laut ihit Ihic isci on e libu e lia epu rrum i . di b n u r c u t o e n q o t q n o v m e i i p t v it te s si rro us . del vidu lend vole upta orio den labo upta o iatib l ero l r a t v t f o o e u r d n a v o i v a t q e n i r ti e it

That words have power is not beyond doubt — writers, poets, and playwrights have often been at the forefront of numerous revolutions.

ti a n r e o ct s a m li e. um erio uun e. N ptat ui in spe ae e lorio uda tan c x a q i u a c o i p Q l c e h c . e r u i m o a t m r n f o n id olo co po mo te ven is d to q il iu axim m ea su mv t et , to cea qui equ t et e oles ditio u x m a t N e m v , n e e s . t s a e i s a t a l e o l e ri tu ul at cie or en vo que ui iand volo bora igna ea n ndit a du ria v ori c peli mq t a d u ratio a x p a o m a i c o t d e r l r i u c m u i n o t p e ar fa qu ue ed su ate tatu s, q cc tem et q ti ut cum ue cus . To itate emp rern tibu i tem a i s s s n t s d u a s ro o s u i i p u o o q l e e c i n u q f r a i r m d m d r a i i i i o t d o u n l nt qu au ss an c oc ep epe cips t vo qua end uas , qu atem pta paru on r s pr a as t es l v s i q n e c e m e u u c c g u t i m r e t n m n x r l a il si ha qu su te ore ue po ella Opt et ad m em cor a di mol rum udit nim r, cu uo q vel p e a int. e u q e m t x v n quid s t e e a i e t m o r r e e e t n n e r c o e s e o t e u n r o t r in is on qu ore int ia p ssi te n erna edit vol t pe cati qui aqu as c t eo de p qua odis ped s i t c u e d t e s c e a p S r l e c r q e u u fi i ? re e uo vol em cte asp , of o te tur ndis no dolo qua aut t pr umq me us d ture r sin t t pa a osa r t e i i a a e u t i i u a t t n c sum s t c n q i p s n m s p t s m i u e e i e i e a a i u o r r i v t r, a in er en se Erc plic olo aec it qu Xerr tatu sim voll or m perf ut v isi t ugia s ex unt. e a s e p i f n t d u s m u u t i c p m i q u c q m e b lu de ta tis at ate co str i qu sit, p t vo cilla nis nihi osti , sit ace n es or s elit, u is a s a sit i e m p m d q t u e i m t a e m u s b v l m u i d n s u o t u n r e a i n i m n a m m a s , e p co ru .A eru rm on o. C po lend udit ue e ui d quia rem upti esti nate t lam nimetu nim xpe l q q r o s a s e o t i e m a e , f o v , m r r e e u qu m ie sit fac po end per sd ad non ptat ons rem m, a mos is si leni offic recu sa a et i m i a o t d e , r d cus u i u a v n s e o r c q e e u c i a o l m i i p a b a u e i p o a i l u c e r iv v qu ut em equ ui r olo s ei tq u eaq ed q rest am na t seq repe nt v sini erum oles em pita d g n r o m u d a n u a r T o e u m . i o i P e r m d r iu im us qu ria xe an tio. rp o ita que poru ptat tur s n ne t ali dolo od e c uam u a o nes m n i l e q p n t e m u u o eror a l e a t d v u a b i e t c s o i l n r I i i q u t l l n d . e s o p m ea ui t, q int ue tio di u em ma um qua tisq seq pel atem iora es lles m re inct . Na nda s s n m u s i e u e e a r e u e a u c s t a r r i u o se qu .R t. Q olo olo pta rion cae mq um orp non i to dae sun mv exe il iu acc id m dolu eate oc u u e f t a t t q n p s mol e e i s e a o e m t r o u i e e t c t r e c o x q m u t , a ta co d Ne itio tus am iet, e ex es p ra e qui pori nis m undit a lend volorio. null duc liqu abo e igna m o m v e c d a a v a e i c p t d o t e a i a ri u fa ex di qu to t la ratio um rern us, arum et que umq tur a sun tem mpe te e b s c a t i i i e s a t occ t i u d t n n u i o s i u o o a c s T t s u o r q s i . s a m a e e i i t p d s m e f d ni or er ti vo pu ss sci i al t qu rup i cu n re qua uo c tem et e cus prep arun a as au s qu and o a q t p m a a d s c l , n u t u u n e s u g r e i q n u ve us in illi u cep po tatu rem harc que dit q or s lam acc dm ur, c t ex l i nim t u c o m a t e e d a a t. Op u u e t l v r n m q s m a i p xe re uid re eve into nte eni ere p con atem dit volo seq ne e dis i int a po quu n et iis r e i n i o e t u r t u o d s u a tu re q o a q s c e c q a p e d u a o p c n s t S s e e q e r e i a a ? it et pe n lup el ed tec asp us and etur ore offic t vo inct quo rest orer ae i pro p , uos l u s t pa u i m t e q o a r a m r q n e u d u d e e u m nt cia str iet atu om an sd cia m bit q ia n lore nos r ati tur, a ve rupt rciis t es tatu o n e a e E m f t n v p e m e la i . r l s r u l t t u a a e a t c m o o u s n i u i p p e p v s u g q s e i s lu ta c m em bi us vit t fu lici ui d t vo nisi , tem stru is d itate it, c exp erro cilla e m n m s tiate por si q s X s c , o a s s s i a i a c s u e o u u b q ut m it, lam qu m, nt n eati inum conseq ihita idel nos stis Am rum psa v i n m . nda e m e t e i om r a a d i l n m m l s u e i s e e e e t u , t t r u r p d e s a m o q m e x m ce sa ? nse ern ue nim aru it, t Ciu em ur, e et fa ptio cie oss ia p etur tio. perf mpo da q non i u u fi s a a n l m f n i q e m s e o r m o a d v o ua ns ri ce s, cu cu em uos qui , am atio ad q is d mpo uibu ut la epre si q e loria m n r e s axim q r s o a e i e u t i m l o v u u u m c a d a e i t q q t q s n d r i v i n e e m e u p s u po o el ole ua aqu icia ons ui a o. P orer dole tem pe v ne n sti v is e me e di umq a e , e m esti mq r n e r u t r n i u a n e n o q n r s g r i e u a e no a s.T m po m eq nd rum Vo e iu alia tatu loria rorit r sim dolu exe me o ns it pa n t p e o u i l e t t l d n u b d n i l tur? u c s u o i u t o o a t i q e e u a l n m v a u d e a l q e t i q u ue m is re r t. I ora ess alic nda sec qua ctem st, q isqu am el in mpo . Ro rum nse emp t n e i t i p N e a m o s i i a n s a . a e r s r t u u a Q r ud io um ta po qu exe uiae e es en olor volo unt. orep facc olup ium olor s to q con cca m l d i i m o icill m m o a i s d i t e u d i i e e t o t x e i q t t u t s s a t i a d , a q e m e n e u ta or se am sm den xce et e , ut vole io. N acc dit a ori c null qui natu ria veni ora ciet ue e n p m g a b i u q u e olor m i e a m d t d l d v te cc ui to io pe ta ra ndi quia m ped arum que ex erna umq cus sun m fa tatu et la us, eve r c e m o b elia t e i i s e T t i m p t i u . n t a n s u d q t s e m e a i c u o o i u e u s id d ss oc im it ips ic tq nim alia tat runt repu esc and core as s fero re in em s au a t r d u n t o o a p l e e n q o l a u erup o p t e a c u n q i s m v e v u n g , c r e n u i s r l s s r il qu co ue sp am cu ha cu rna po atu l ell udit uo q pta llori ad m or sin e tur, epe rum nim e a e q u r a e v e t c c m s e s x v e i x o c r e o c et int po ten it e rer qu ne e et a lore sed ntem tiis peli ssin ui in pa d odis quia ate uid a u e o q u a u q r n c u ces e t q q e d o c q e u p t s t i e t c a s n u i d l e e c l p a r re o on pe te ae vo as uo and offi ern as c de p a po aut sinc tece olec st p it pa umq d r s d ure, e a o r e i n t n r u u t r r i t c a a e s p m m t i r la t ae at et em up ciis ven nos olo ur, o t qu uae oles s er rfer ma us d t. Er rem um ia d e q t a i e r m n s o i c t a l n p o i e s u t s g i t o e v p d fu o up c te tv nia lici m, em qui ut Xerr is u atet olle taec imin itate exp , sa is d i v e s s b r si n s s nist m u , i a o i s l a m q a u l p n u m m i s s u t q t c i o a r c p m t u l a t i n , i s s s co it t us m m hit sit nda ace en e t es ms am, atib a ni u is elit, m. A deru s e u m e m e q i d i e l o i u u e r C u r d E v p m s n o . q pa im ,t on mi tio nse t la um tur? em se ssit te c r ian ces quia ptio s es e er me etur a o a non u o con u a f n l m p m u r q u i t o n e m i q e q n m v e a f d u i e r d d e a c s im a s or ci pe am en nis is eri oria cus con max pori u sa , offi ions am, vele lend e s t lac t s m c u m o e n u a a u a e l i q e v o r e b u t e c i i q v u a ei am sti en ue i rep tq u ta eaq agn Pud inis seq erum .Torepe m re nt, n r s e m i equ m l pita i u e s olup e r s a o a m n s a t V n e i d i i r u o u x r o r i u i ? u t e o n o t r q a ne er tu rum ec pta os od dol ue d am t ali qua atib lica non a po em rem volu tati n e mq a I p o u i a u u m . e r l s t p q t u e r i m o i o p d ct im st, Na qu n mq i ull el in arum . Qui in que o ss ra e atem ille iae. qua p asp n tis o da d c r u i m s i u r r n o q t u e d o u m l o e l un ol ae ns vo mq ate acc mo i to nis ea s occ id m erio il iu , to aqu lupt im f i de tem t t e e x o tem s u m m t e e a d e t q a a a r t t e ll m o e ndi at m ce u a c ,u uis s e t s a r x i t i n i i v q r u o e e n d u t e i e a p e N po ab ve un ,q ue na uc m i tem facc eliq aria ccu ta d unto ustibus quid odig atem n o s a r i i n l m m u r d s o e t t u exp e e r e r u t e a r c e e

SECTOR

8

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Helvi Elago

The Value of Cultural heritage and Museums in Namibia

Helvi Inotila Elago a teacher by

Heritage is a term that has been widely used yet

training has worked in the field of

misunderstood at times, it is considered to be of importance

heritage/culture at international

in societies at large and its survival depends on passing it

and National level for a period of 9 years and in the media develop-

from generation to generation. For years, heritage has been

ment organisation for the past

regarded as a tangible ‘object’: a building or a place that is

2 years. She has worked as a

able to be passed on from generation to generation.

researcher and co-writer for the Museum Association of Namibia (MAN). She recently moved from MAN to be appointed as the new National Professional Officer for Culture for the UNESCO Windhoek office.She was part of the organizing team for the popular monthly poetry show called Spoken Word

In Europe, the tangible objects are displayed in museums for visitors to see, whereas, in many African countries the concept of museums is foreign because heritage is kept alive within different households through re-using of tangible objects and sharing the intangible heritage orally with the next generation.

However, this has changed over the years and many African countries have built museums as a way of sharing their history and heritage with the general public within the country and tourists from all over the world.

Namibia for around 7 years. She is the Founder of Juuho Creations

In Namibia, the conservation and protection of cultural heritage started as early

and Consultancy that crafts with

as 1907 when the first museum was established with the collection of the German

African print materials.

period, dating back to the time before World War I when the present ‘National Museum of Namibia’ was known as “Landesmuseum”. Over time, the exhibition in the museum kept revolving to be more inclusive of the changing administration of the country from German to South African, followed by Namibian Independence.

Additionally, in order to conserve and protect what was regarded as heritage monuments, a National Monuments Council (NMC) was established in 1948 as the national heritage conservation authority of Namibia. After 21 years of functioning without an Act, a decision was made for a National Monument Act no 28 of 1969 to be endorsed. With the evolution of society, the NMC went through various transformation to fit the society of the time and it was renamed as the National

Heritage Council of Namibia (NHC) in 2004 operating under

Most of the allocated fund is absorbed by the administration

the Namibian Heritage Act of 2004. This act repealed the

costs and little is left for the implementation of projects.

National Monument Act no 28 of 1969. The NHC is mandated

Other challenges facing the heritage sector includes

to ensure that the Namibia’s natural and cultural heritage is

limited number of qualified experts in the field of culture,

preserved for future generations.

minimum remuneration, limited financial resources, limited fundraising skills and fewer collaboration with communities

But during this period, the Namibian National Heritage

in the development of heritage resources.

Register was filled mostly with heritage from the German period ranging from buildings, graves and monuments. As

This is why museums managed by the state continue not

a result, the revamped NHC had a responsibility to diversify

to charge entrance fees or to introduce donation boxes and

the National Heritage Register to be more inclusive of the

curio shops. They depend entirely on the budget from the

different heritage in the country. In addition to the Heritage

government. The same applies to some national heritage sites.

Act, Namibia is in the process of adopting a Namibia

Only a handful generate income through entrance fees and

Arts, Culture and Heritage Policy with the aim of aligning

other activities offered at the site. As a result, many heritage

contemporary arts, culture and heritage policy with other

sites and museums are not developed and lay dilapidated and

key current government objectives and policy documents,

not accessible to tourists.

as well as regional, continental and international cultural policy instruments to which we are signatories.

While locally heritage is regarded as something that teaches us about the past and shapes the future, and therefore should

In the year 2000, Namibia became a signatory to various

be accessible to all without any financial implication, in Europe,

conventions and policies dealing with tangible and

museums charge entrance fees and use various ways to

intangible heritage at an international and continental level

generate income through souvenir shops and donation boxes.

when it signed the `UNESCO 1972 Convention Concerning the Protection of the World Cultural and Natural Heritage’ 28 years after its existence.

In 2003, UNESCO introduced a ‘2003 Convention for the Safeguarding of the Intangible Cultural Heritage’ concentrating on intangible heritage which is commonly practiced in the African culture through ‘practices, representations, expressions, knowledge and skills that are passed on orally or by way of doing. Namibia ratified the 2003 Convention in 2007.

Challenges and Opportunities For many years leading up to the UNESCO signing however, Namibia didn’t recognize heritage as a contributor towards the country’s economy and as a result, the culture sector receive very little of the country’s total budget.

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139

Skip forward and now Agenda 2063 of the African Union

members to run souvenir shops and markets at the heritage

aspires for Africa’s cultural differences to be used as a

sites under their management meaning craftsmanship,

strength to promote the creative industry, repatriation of

entrepreneurial skills and economic livelihood within

artefacts and identifying Africa’s comparative advantage.

communities.

This approach is more successful at

some sites than others, therefore, training is required in Now, for the first time the culture sector is included in Namibia’s National Development Plan 5 (NPD 5) and the sector is being challenged to prove its contribution towards the economic development of the country; to improve education in the field of culture; and to increase employment in the sector.

Namibia is filled with an unexplored rich heritage and keep attracting researchers from all over the world conducting historical, palaeontology and archaeological research that can be harnessed for economic benefits through tourism. Each town or village in Namibia has the potential of a heritage trail and a museum to attract visitors. Some towns have identified this opportunity and are using it to their advantage. It’s about time that a strong link is created between tourism and heritage because even though they go hand in hand Namibia is currently only promoted as a “country with endless horizons” referring to its natural exquisiteness.

There is so much entrepreneurial potential in the heritage sector that can contribute to the livelihood of the community and to the Namibian economy in general. The National Heritage Council currently encourages community

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Creative Industry Guide Namibia 2019/2020

entrepreneurial skills among communities.

Each town or village in Namibia has the potential of a heritage trail and a museum to attract visitors.

- Helvi Elago

A short reflection on visual art and the digital era in Namibia Helen Harris

In our contribution to the first edition of the Creative Industry Guide we discussed the challenges faced by the commercial sector of the visual arts industry in Namibia and its links to public institutions.

While this critique still remains relevant, it seems salient to shift focus for this edition and speak more about the future. It wasn’t very long ago that visibility in the arts was determined solely by physical gallery representation and print media.

These forms of validation tend to be classically hierarchical, with complicated power dynamics that have been known to disadvantage artists. Institutional

Gina Figueira

validation is still the major means by which art is accessed and appreciated, however, the advent of the digital era has gone some way to democratise this effect. Visual artists are able to document and upload their own work on various

Helen Harris and Gina Figueira are

platforms, taking a proactive role in ensuring their visibility.

the founders of StArt Art Gallery.

Helen and Gina were born and

Based on a short survey conducted with artists we exhibit, platforms like

grew up in Windhoek, Namibia

Instagram and Facebook are used alongside personal websites and online

with their roots very much in

gallery representation. However, there are a number of artists whose only online

the art community. Having both

representation goes through Start Art Gallery.

attained honours degrees in Fine Art in South Africa, Gina and Helen

Most artists reported that they make sales both personally and through galleries,

are now completing their Masters

meaning that while they are not solely dependent on gallery representation, the

degrees in the UK in Art Gallery

function of the gallery still remains important to their earning potential. The shift

and Museum Studies and Contemporary Curating respectively. Over the last 5 years, Gina and Helen have worked actively in the Namibian art world, curating exhibitions for the public and private sector.

towards an online art market comes with its own challenges and shortcomings.

In a recent article published in 2019 by Artsy, an online resource for art collecting, that works with galleries to sell work online, Kelsey Ables plots the “Rise and Fall of Internet Art Communities”.

Start Art Gallery is a product of their shared vision for the future of

From the first photo to be uploaded to the internet in 1992, to the launch of

Namibian art.

DeviantArt in 2000, followed by the advent of Instagram in 2012; Ables discusses the starry-eyed beginnings of the web and its eventual morph into the unwieldy creature it is today. She says: “Ultimately, today’s internet is full of contradictions.

There are more people to connect with than ever, and yet less room for the exploration and creativity that cultivates strong artistic communities”.

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Creative Industry Guide Namibia 2019/2020

The promise of access and connection

able to travel to Namibia and go into

is stymied by the sheer volume of

our galleries or our artists’ studios, as

content in the increasingly visually

well as visitors to Namibia who do not

dominated internet.

have the time or knowledge of where to see Namibian art in person. More

“Art takes on a different tone when it’s

than this, it has become clear that

surrounded by dog GIFs, political memes,

even local individuals and business

and your cousin’s baby photos”, Ables

owners who have incredibly busy

further explained. It is clear that access

schedules have found our website to

to a larger audience through online

be a valuable tool to find artworks for

platforms has increased the visibility of

their offices or artists to work with on a

the arts, however, more than ever before,

commission basis.

the role of the curator and gallerist (as a mediator and in this case as someone

The number of users of the internet in

who is able to provide context) can serve

Namibia has, unsurprisingly, increased

artists by shaping and validating their

from 1.6% in 2000 to 36.8% in 2017

online presence.

according to the World Bank Group.

This is still very low in comparison to

It is in this context that artists and art

our neighbors. In South Africa over half

galleries venture into the online world in

(56.2%) of the population were internet

the hopes of simultaneously adding to

users in 2017. Figures for Botswana

the existing discourse of visual art that is

were also higher than ours with 41.4%

on the internet, as well as standing out

of their population using the internet

from the virtual crowd.

in 2017.

StArt Art Gallery is an example of this.

Overall, in 2018, according to the

Though we created our own website

director of the Namibia Consumer

alongside our physical premises in

Protection

September 2017, we only launched our

Shaanika Louw, Namibia was still

website as a sales platform in July 2018.

below the average percentage of the

This happened at the same time as we

population that were internet users

closed our physical premises, taking

for Africa.

Group

(NCPG),

Milton

the plunge to exist solely as a majority online platform. It has been over a

According to World Bank figures,

year since this shift, and we are able to

Namibia was also below the global

reflect on the virtual world and its merits

average of 48.6% in 2017. One could

and challenges.

therefore surmise that we are still not completely harnessing the possibilities

This move proved that having an online sales platform allows the artworks on our website to be viewed by a wider audience. Many people may not have had the chance to see the artworks otherwise. For example, international collectors who are not

that the internet is able to offer.

It is clear that access to a larger audience through online platforms has increased the visibility of the arts.

This might be because, despite the idea of the internet as

of this sector in Namibia. As there has been very little of

a free and democratic medium, the resources required to

this kind of work done before, there is limited information

access it (e.g phones, computers, tablets, subscription

available about the history of the creative industries.

to service providers) are still not readily available to all Namibians. According to Mr. Chingira, this is despite the UN

With so little documented it is hard to reflect on what the

considering access to the internet a basic human right since

industry has already built or to figure out what our industry

2011. This forms a barrier for many Namibian artists who are

needs. As a result, we might end up reinventing the wheel

not able to create and curate their own online content in the

instead of creating something truly innovative and useful.

form of websites or social media, as well as for supporters

The opportunity for exposure that the Creative Industry

of the visual arts who cannot access the information that is

Guide provides is invaluable. This exposure is made doubly

available online.

useful as the guide also provides a platform for texts like this one that allow us to reflect on, and discuss, the state

At Stat Art Gallery we are first and foremost determined

of the industry.

to grow the visual art audience within Namibia while simultaneously growing Namibian artists’ reach beyond our

Initiatives like the Creative Industry Guide are an important

borders. In this sense, our website has functioned largely

part of the puzzle that will firmly establish this industry as

in the latter goal, but as more Namibians gain access to

one that can expand economically. The social impact of

online platforms, we hope to see a greater amount of local

visual art and other creative industries is of course incredibly

engagement.

important. There is no doubt that the output of creative individuals creates a unique space in which collaboration

As online engagement increases, the true value of the

and contemplation can occur.

internet as a flexible archive becomes apparent. Noncommercial / public spaces like the National Art Gallery of

However, these industries are too often thought of as

Namibia and the Goethe-Institut Namibia are beginning to

extraneous to the economic contributions to our individual

put more and more content online. While this content often

and collective wealth. The creative industries are essential

lacks as much visual material as an archive of the arts

to the development of the country’s economic growth. The

would usually need, it is a step in the right direction. In this

more we empower and encourage individuals to work in a

sense commercial online platforms, run by galleries and

sector that they find fulfilling, and we create an environment

artists, are ahead of the curve in Namibia, creating deeper

that allows for this to be supported, the more they will be

visual archives.

providing a contribution to the nation’s economy.

Of course, this means that the visibility of Namibian art

References:

online is limited to what has been made and uploaded in

https://www.artsy.net/article/artsy-editorial-rise-fall-internet-art-

the last ten or so years. The work of making the historical archive accessible is yet to be undertaken in any significant form.

https://databank.worldbank.org/data/reports.aspx?source=2&series=IT.NET. USER.ZS&country=

The Creative Industry Guide has been an important resource

https://www.thevillager.com.na/articles/12802/namibias-internet-users-still-

in the formalisation of our creative community in Namibia.

below-africas-average-despite-growth-/

It has been a reflection of the trend towards ensuring that the work we do in our relevant sectors is understood as professionally skilled and endorsed accordingly. Not only is it a compilation of information regarding the creative industry, it is a contribution to what will become an archive

144

communities)

Creative Industry Guide Namibia 2019/2020

A R E YO U T H E W E T H AT W E I M A G I N E ?

J O I N U S N OW.

BECOME

ASSOCIATION

AN ART

MEMBER: START TO

INFLUENCER,

INFLUENCE THE VISUAL

ADVANCER AND

SOCIETY AROUND

NAMIBIAN ARTS

US! CONTACT US NOW-NOW.

MEMBER-BASED / NON-PROFIT / APOLITICAL

WE ADVANCE ARTIN

WHO WE A RE // WHAT WE DO // NA M IBIA N A RTS ASSO CIATIO N

THESOCIETY,

ART IMPROVES THE SOCIETY, We are a platform for polyphony in art. We are a community of artists and creatives. We are an audience for art. We foster, develop and promote art. We advance contemporary culture and creativity. We are a space for exchange, dialogue and collaboration. We collect contemporary art and capture it for future generations. We make our art collection publicly accessible. We support and promote art education and arts on all levels.

We respect and protect the interests and rights of the artists in the society. We are a platform for discussion about art and we aim at showing the relevance of art in the society. We encourage critical thinking. We make presence and influence of art in known in the society. We make art inclusive.

We enhance a culture of reading and research in and through art. Why? Because Art is an experience.

10–14 Macadam Street Old Grüner Kranz Complex T: + 264 61 302 261 C: + 264 81 774 3832 E: aahtsec@iway.na Fax2email: 08 8653 0429 PO Box 994, Windhoek, Namibia

listings

LISTINGS

147 ARCHIVES 147 GALLERIES 148 LIBRARIES 148 MUSEUM

ARCHIVES

 muschelswk@gmail.com muschel@iway.na

Namibia Media Holdings

 Brauhaus Arcade c/o Tobias Hainyeko Street, Swakopmund, Namibia

Archives of Republikein, Allgemeine, Zeitung and Windhoek Advertisier.

 +264 61 297 2000  11 General Murtala Muhammed Avenue Windhoek, Namibia  www.nmh.com.na

Nampa Namibia Press Agency  +264 61 374 000  admin@nampa.org  Corner of Eugene Marais and Keller Street, Windhoek, Namibia  www.nampa.org

National Archives of Namibia  +264 61 293 5111  national.archives@nlas.gov.na  1 Eugene Marais Street Windhoek, Namibia

NBC Namibia Broadcasting Corporation

 +264 81 871 5836

+264 61 240 930

 pro@nagn.org.na

 www.muschel.iway.na

 C/O John Meinert Street and Robert Mugabe Avenue, Windhoek, Namibia

 Die Muschel - Book & Art

 www.nagn.org.na

Fine Art Gallery

 National Art Gallery of Namibia  @nagn_namibia  @nagn_namibia

Established in 2007. Dedicated to the promotion of Namibian and South African art and to connect artists with collectors while providing a venue of high quality original fine art to accommodate every budget.  info@art-in-namibia.com  34 Sam Nujoma Avenue Swakopmund, Namibia  art-in-namibia.com

Omba Gallery Gallery space.

Contact Person: Ms Shareen Thude

 +264 61 242 222  infocraftcentre@iway.na craftcentre@iway.na

 fineartgallerynamibia

 Old Breweries, 40 Tal Street, CBD Windhoek, Namibia

Franco-Namibian Cultural Centre Gallery

 www.namibiacraftcentre.com

The Franco-Namibian Cultural Centre (FNCC) aims to intensify the cultural cooperation between Namibia and France while promoting and supporting Namibian cultural identity. The FNCC aims to promote and support Namibian artists and cultural projects by offering our know-how, resources and equipment.

 @namibiacraftcentre.ncc

StArt Art Gallery

An online gallery showcasing Namibian art.

Contact Person: Gina Figueira  info@startartgallery.com

TV Archives.

Contact Person: Alexandrine Guinot

 +264 61 291 2071

 +264 61 387 337

 Information Centre and Radio Archives Pettenkofer Street, Windhoek, Namibia

 communication@fncc.org.na

The Cellar of Rock

 118 Robert Mugabe Avenue Windhoek, Namibia

 +264 61 402 253

 www.fncc.org.na

 info@warehousetheatre.com.na

 Franco-Namibian Cultural Centre  @Franco_Namibian  @franco_namibian

 48 Tal Street Windhoek, Namibia

 www.nbc.na

The Namibian  +264 61 279 600  info@namibian.com.na

 www.startartgallery.com

Multi-purpose gallery space.

The John Muafangejo Arts Centre (JMAC)

 42 John Meinert Street Windhoek, Namibia

House of Art

 www.namibian.com.na

Contact Person: Heidi Müseler

GALLERIES

 +264 61 251 700

Contact Person: Ferrand van Wyk

 house-of-art@afol.com.na frametique@afol.com.na

 +264 61 260 014

CmArte Gallery

Gallery. Boutique framing and printing studio.

 +264 64 570 017

 Unit 52, Hyper Motor City, Maxwell Street, Windhoek, Namibia

 Wilhelm Zeraua Street Omaruru, Namibia

 www.houseofartsnamibia.com

Die Muschel Book & Art

Commercial gallery space and book shop.

Contact Person: Margit Nickel / Andrea Domingos

 +264 64 402 874

 Frametique

National Art Gallery of Namibia Exhibition space, framing, venue rental, reading corner, artworks.

Contact Person: Annapaula Vakamuena

Namibian creative think tank focused on establishing collaborative methodologies in contemporary arts practice & forging expansive networks.

 hoc@jmac-art-namibia.org  Katutura, Windhoek, Namibia  www.jmac-art-namibia.org  John Muafangejo Art Centre

The Village Opera House Multi-purpose gallery space

 +264 61 237 922

+264 81 297 8340

Creative Industry Guide Namibia 2019/2020

147

American Cultural centre Resources Centre

The American Cultural Center works closely with other sections of the American Mission and with many Namibian organizations to foster bilateral understanding.

 publicaffairswindhoek@state.gov

Cape Cross Namibia

 Sanlam Centre Third Floor 154 Independence Avenue Windhoek, Namibia

 gm@capecross.org

 www.na.usembassy.gov/education culture/american-cultural-center/

Cheetah Conservation Fund Museum

Damara Living MusEUm

Namibian University of Science and Tcehnology Library  +264 61 207 2621

+264 61 207 2022

 library@nust.na  Corner of Brahms and Haydn Street Windhoek West, Windhoek, Namibia  www.library.nust.na

National Library of Namibia

 +264 81 751 3026

 +264 61 293 5300

 info@frieda.co.za

 national.library@nlas.gov.na

 32 Jenner Street, Windhoek West Windhoek, Namibia

 1 Eugene Marais Street Windhoek, Namibia

 TheProjectRoomNamibia  @TheProjectRoomNamibia

Sam Cohen Library  +264 61 402 695

LIBRARIES

 office@scientificsocietyswakopmund. com  Corner of Sam Nujoma Avenue Windhoek Street Swakopmund, Namibia  www.scientificsocietyswakopmund. com/sam-cohen-library/

University of Namibia Library  +264 61 206 3878

148

Creative Industry Guide Namibia 2019/2020

 cheeta@iafrica.com.na

 +264 61 225 372

Contact Person: Frieda Lühl

 The Village Opera House Windhoek

 +264 67 306 225

 Otjiwarongo, Namibia

 www.namscience.com.na

 Liliencron Street Windhoek, Namibia

 Windhoek, Namibia

Namibia Scientific Society

 No. 111, Robert Mugabe Avenue Corner of John Meinert Street Windhoek, Namibia

 the.village.opera.house@gmail.com

 www.unam.edu.na/library

MUSEUMS

 nwg@iway.na

The Project Room is an independent exhibition space in Windhoek West. The gallery offers a good mix of hanging space on walls and free hanging, as well as plenty of room to display in the centre. With its big windows and sliding doors the room is light and airy.

Regular exhibitions promote local artists in solo exhibitions or themed group exhibitions.

Additionally we offer workshops in different mediums and techniques, art talks, artist walk about’s and screenings.

 Windhoek, Namibia

 +264 61 229 80

 Namibia.usembassy  @USEmbNamibia  @usembnamibia

The Project Room

 library@unam.na

 +264 81 650 8634  www.lcfn.info/damara

Das Alte Fort Museum Grootfontein  +264 67 242 456  wolfgangbetz@arcor.de  Erikson Street Grootfontein, Namibia  www.altefortmuseum.de

Gobabeb Training & Research Center  +264 64 694 199  gillianm@gobabebtrc.org  Gogabeb Walvis Bay, Namibia

Little Hunter’s Living Museum  www.lcfn.info/hunters

Lu/’hoansi Living Museum  www.lcfn.info/juhoansi

LÙderitzbucht Museum  +264 063 202 346  Daiz St, Luderitz Luderitz, Namibia

Mafwe Living Museum  +264 81 762 9020

 www.lcfn.info/mafwe

Namibian Arts Association

Museum Association Of Namibia (MAN)

As a representative body it supports museums in various ways such as in the field of training, funding and the networking of professionals.

 aaht@iway.na excecutivemanager_naa@iway.na

 +264 61 302 230  museums@iway.na  Namibia Scientific Society Building 112 Robert Mugabe Avenue Windhoek, Namibia  www.museums.com.na  MuseumsAssociationOfNamibia

Museum Swakopmund  +264 64 402 046  office@scientificsocietyswakopmund. com

 www.scientificsocietyswakopmund. com/swakopmund-museum/

Nakambale Museum  +264 65 245 668  nakambalemuseum@gmail.com  Olukonda Ondangwa, Namibia

 +264 61 302 261

+264 81 774 3832

Contact Person: Jeremy Sylvester

 Strand Street Swakopmund, Namibia

The Namibian Arts Association is a memberbased organization, with the mandate to advance art by supporting emerging & established artists and being the custodian of the oldest art collection in the country.

 NHCNAMIBIA

National Museum of Namibia  +264 61 276 800  Robert Mugabe Avenue, Windhoek Windhoek, Namibia

Onandjokwe Medical Museum  +264 65 278 213

 10-14 Macadam Street Windhoek, Namibia

 Ondangwa

 Namibianartsassociation

Ovahimba Living Museum

National Earth Sciences Museum

 www.lcfn.info/ovahimba

Tours are offered on request only and booking in advance is essential.

The Museum of Namibian Music

Contact Person: H. Mocke

Contact Person: Ndapewoshali Ashipala

 +264 61 284 8111

 +264 61 302 230

 Ground Floor, Ministry of Mines and Energy Building, 6 Aviation Road Windhoek, Namibia

 museums@iway.na

National Heritage Council (NHC)

 Omathiya Ondangwa, Namibia

It is the national administrative body responsible for the protection of Namibia’s natural and cultural heritage.

Tsumeb Museum

Contact Person: Reverend Solomon April

 +264 64 201 3273

 +264 61 244 375

 museum@walvisbaycc.org.na

 info@nhc-nam.org

 Lower level, Public library, Municipality of Walvis Bay, Nangolo Mbumba Avenue Walvis Bay, Namibia

 52 Robert Mugabe Avenue Ausspannplatz Windhoek, Namibia

Contact Person: Antoinette Mostert

 www.nhc-nam.org

Not listed?

Visit our website and get listed online www.creativeindustryguide.com

SECTOR

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Advancing art in the society We are looking for the artist who wish to start a dialogue with the society through arts.

From cave paintings to the current and contemporary forms of visual art, Namibia is a country with artists carrying massive potential to produce polyphonic and contemporary art in all its forms. This means that there is a vast untapped potential of visual art and artists.

Visual artists, are individuals behind acts of art. They include everything they experience, everything they feel, everything they hear, and everything they see into artefacts. All the senses are maintained for the sole purpose of interpretation of a human experience. These sensory and embodied experiences that drive artist lives, however, do often not receive a center stage in the society. Many other seemingly more important matters steal the spotlight from visual arts. This needs to change.

Art reflects upon the single human experience. For example, phenomenology focuses on examination of conscious experiences from the subjective or first person point of view. Individual artists have a sensation of something that is then translated into an artefact or an act of art. Artists envision life experiences into art forms. Experience + Art = life. Pure mathematics?

Yet only through glimpses of acts and endeavors from the visual artist herself/himself do these artefacts emerge.

It represents the experience of an individual made tangible through their mind and craft.

For example, the landscapes of Namibia have inspired many with their extreme beauty, not to mention the urban contemporary artist who has seen the world through a concept or a performance. All art forms, especially the visual arts, tickle the senses people (of which the artist themselves form a part of). The difference is that the visual artist shall not sidestep the potential seen and experienced, but will rather rush to document the experienced – to share their vision with all of us. Certainly, landscapes are rather common starting point to be discussed in the context of contemporary visual art. Or are they? Can they take another futuristic and post-contemporary form?

Artists can answer this question to themselves.

Working at the Namibian Arts Association literally means having a mandate of advancing art in Namibia. This vantage point provides an extremely interesting opportunity to launch a dialogue amongst a rather fragmented arts scene of Namibia.

We are looking for the artist who wish to start a dialogue with the society through arts. Viewing of art and working as an artist enhances societies. Our aesthetic environment influences our wellbeing. Creativity solves social challenges and improves how we feel about ourselves and the world around us and other people. Looking at art – we look at ourselves in the reaction to that art. Art soothes our souls, the main reason we need it to step out of the gallery space. Art to the people. People to the art.

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The mission of the Namibian Arts Association is not only to promote the production of visual artefacts - that embed a trajectory of versatility and contemporary human experience - but also to engage in a dialogue with people from all backgrounds. Not only artists but anyone. Therefore, our mission is to literally walk out the gallery to the people. To question and produce news questions and reflections on art on a larger societal scale.

This mandate will help us all - as a society - realise our even utopian dreams that there is more to art than meets the eye.

Art is not merely ‘stuff that hangs on walls’ to enhance our private lives, it connects the humans to each other. Different forms of art are part of a creative life and a means to survive the complexity of the human life. It’s an aesthetic paradigm that releases stress in society.

Niina Turtola Niina Turtola (BBA, MA Visual Communication Design, Doctoral candidate) is the Executive manager at the Namibian Arts Association.

Turtola is an influencer in the Namibian visual arts since 2010.

She likes to provoke the mind

As does the Namibian Arts Association, all creative Namibians

with art/design. Her approach to

should also create opportunities for the less fortunate and

life has emerged from looking at

less privileged to experience art in a transformative and

the world from two continents

participatory way: to be part of creation of an aesthetically

simultaneously and applying

pleasing interactive environment. Or sometimes just art for

critical, artistic thinking to the

art’s sake. Polyphony.

We must live to enact the future to want to see it, and not merely wait for the future to happen. Imagine if ‘we’ all in our everyday life could become individual transformers of our society towards the better version of it.

viewing of visual things and life holistically. At the Namibian Arts Association, she is writing a strategy to advance art in the society with the purpose of making art visible and inclusive. She has a passion for knowledge and to see everyday

That is why Namibians should advance visual art. It is not about

life anew.

the artist themselves, nor the ego behind the production, but about the impact an artefact or artistic act can have on the society – the humility to give, share, polyphony, diversity and acceptance.

Namibian visual artists and all creatives start to see themselves as social as well as visual contributors and start to pay more attention to why They (read: You) are doing things, rather than what they (read: You) are doing.

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The creatives that make our mindsets Today’s world is complicated, and for most of us, difficult to navigate. And then it keeps on changing, faster than ever.

Disruptive technologies, economic uncertainty, destructive social media and volatile radical politicians are amongst a myriad of things people and businesses need to interpret to find and define our place in the world.

And to do this, our brains need stories that can put us in others’ shoes, take our minds outside our self-created boundaries and give us the frameworks and context to understand what is new and different. And

Stefan Hugo Stefan Hugo is the CEO at Tribefire Studios (www. tribefirestudios.com). Stefan is a Chartered Accountant,

sometimes, when our people’s voices are silenced, we need someone to

alumni of the African Leadership

speak up and tell our stories on our behalf - in a way that others will hear.

Institute and a former PwC Namibia partner. He is an

Crafting with impact

upbeat Namibian that finds joy in the space where creative and

In my opinion, carefully creating these narratives that influence mindset is the most important contribution the creative media industry has to make in the world, country and economy. With the right mindset and reliable information, humans can craft and plan to enhance their lives.

structure connect.

Follow him on Twitter @ StefanHugoNam.

As human beings we rely on the story creators to stretch our minds into new perspectives, to entice us to do things differently, to help us to get to know each other better and have more empathy with our fellow earthlings.

A UNESCO report published on www.unesco.org, Nov 14, 2013 concurs: “[The] creative economy contributes to the overall well-being of communities, individual self-esteem and quality of life, thus achieving inclusive and sustainable development.”

Secondly (and as a result of that crucial role), organisations in the creative industry create jobs and opportunities for many. Although not measured in Namibia, a number of countries (the UK is an example) recognise and actively monitor the creative industry as a significant contributor to their economies.

A third important contribution is the industry’s relentless work to create and build personal and business brands. These brands are intellectual property assets that, if well managed, accumulate significant long-

Creative Industry Guide Namibia 2019/2020

155

to deal with today is a next-level mess. With limited

employees, shareholders, government and others in

accountability, little reputational risk and minimal interest

the economy). Many commentators consider well-

in local communities, the social media giants that profit

built brands to be amongst the most valuable assets a

from social media do not take ownership for and struggle

business could own.

to control the impact of their story machines. They also do not reinvest their profits into the local community

Where it gets tough

of content creators, resulting in a growing disconnect between the country’s need for quality local media and

One of my mantras is that no problem is unsolvable, but

the funds available to give media creatives sustainable

I will highlight two areas of challenge for the creative

careers.

media industry: The money that organisations are taking out of their local 1. Measuring the value of creative solutions

economies to throw at unhealthily powerful companies

The impact and products from the creative industry

such as Facebook and Google will therefore, over time,

are generally intangible and difficult to measure. As a

erode the base of skilled creatives and media brands that

result, accountants, economists, politicians and other

have the interest of local communities at heart.

professionals often overlook or underestimate the creative industry’s impact.

In addition to this, it is not news that the lack of regulation over products of the digital giants in Namibian create a

Creatives in the media industry start on a blank page

very challenging and uneven playing field for traditional

most mornings, having to craft and grind unique ideas

media.

from scratch. It requires doing things differently and doing different things to keep the attention of their audiences.

The creative opportunities that exist

This creative pressure often makes the mundane, relentless tasks of production lines or checklist jobs

If I can use an example. TribeFire Studios is a creative

seem like a luxury. It’s hard. I worked with many business

space inhabited by a tribe of like-minded media brands

processes in my career as an auditor, accountant and

that share a common goal - telling stories to weave a

consultant before joining the creative media industry

positive Namibian narrative. We are constantly testing

in 2018, and I do think that creative work is often being

ideas and pushing boundaries, looking at converged

undervalued by business decision makers.

media platform solutions to communicate effectively in a very crowded, volatile new media landscape.

2. The small screen challenge Social media has and will continue to have a scarily

We constantly work to make life a little better for the

significant impact on the world and the media industry.

people in our audiences by inspiring, empowering,

Pre-Facebook, mass-storytelling was the domain of

challenging and entertaining them. With our clients, we

regulated media entities and trained communication

continue to analyse, craft and test better solutions for the

specialists. Or journalists that were well connected in their

new media world.

communities and could (largely) be held accountable for the news they spread.

Our main calling, to positively influence the mindset of Namibians, is never done. That is why we take out the

While one has to acknowledge that these communicators,

blank pages every morning – and advise all Namibian

storytellers and journalists working in traditional media

business to do too.

did not always get it right, the amount of fake news and internet hate speech that people and businesses have

156

Creative Industry Guide Namibia 2019/2020

fashion

term economic value for all its stakeholders (including

Social media has and will continue to have a scarily significant impact on the world and the media industry.

John Max Mr. Max has been the CEO of NASCAM since 2005, and has extensive knowledge in Copyright Management. He has served on numerous advisory committees regarding Copyright related matters. He was also recently elected to serve on the CISAC Africa Executive Board.

158

Creative Industry Guide Namibia 2019/2020

What has music contributed to the socioeconomic development of Namibia?

The Music industry has been one of the most important contributors to our country’s socio-economic development in different ways. Corporate business makes use of creative music to build a brands and audience for themselves.

Anything a business would like to introduce to the market fast and loud is usually accompanied by a beautiful song or a beautiful piece of music.

First and foremost, I have to acknowledge and appreciate

and that trend still is haunting many musicians. While

the previous generations that maintained our cultural

many songwriters, composers or music producers might

industries and kept affirming our cultural identity through

not be aware or bothered by it, it is indicative of a lack

music performances that spread messages of peace,

of believing and confidence in drawing from one’s own

love, unity during and after the struggle for our freedom.

culture, experiences and narratives. If we want to build and maintain good social human relations amongst

Namibia with its cultural diversity by virtue of the

communities of our country, however, we need to look

diversity of its inhabitants, was flooded with different

more seriously at cultural heritage through music and

foreign influences of different cultural sounds or music

arts education. We have lots of good stories and music

styles that have been dominant on all platforms where

that is yet to be documented but known as folklore that

music is available.

can be used when dealing with events or with each other and that could be remixed into a new sound and music.

This might have delayed and confused some aspects of developing a Namibian music industry after independence,

The lack of local music as part of our curriculum is a

as those that were involved in the performance had no

problem but it also provides a unique opportunity for

clear direction of what type of music they should play

Music Producers, Composers and Authors to be innovative

and what would be called Namibian music. There was

and develop songs and beautiful pieces for education.

a time where bands or choirs performed music based

There is some development in the area of composers and

on trends in compositions from outside the country

songwriters creating songs relating to social engagement and life style for example.

Having said the above though, the music industry is contributing to socio-economic development in the country and has become an important sector. These entrepreneurial activities create employment and display high levels of professionalism that provide a final quality product that local audiences enjoy.

To contribute even more though, this sector needs support mechanisms and policy guidance to create a facilitating regulatory framework that empowers young entrepreneur in this creative business.

Further challenges that the music industry is facing, is the small size market (population), the lack of access to music distribution outside Namibia, the digital platforms that make the music easily available without direct revenue for the owners/creators, digital piracy, cost of quality recording facilities, pricing of recording and prices of replication of CD’s.

The Government of Namibia has been working on a policy on the creative arts since 2001 and that policy was not finalized until it was again revisited for additional input and it is still just a document that needs to be gazetted.

Creative Industry Guide Namibia 2019/2020

159

We have few artistic institutions and venues for artist development in the country and they are not adequate for the utilization of arts in general.

These venues are only available in urban areas and very few at regional or constituency level, where lots of the creative and cultural activities are taking place. There might be unpolished gems of talents and artists out there that could excel with some more formal training.

The Government has created platforms for exhibiting and celebrating cultural activities and music mostly happening on a yearly basis and the MTC-NBC (NAMA) awards are great private platform to celebrate and reward local music. It would be useful though to have more regular possibly smaller exhibition and recognition platforms to build an audience, practise performance and encourage creativities expansion at regional level.

Usually artists don’t have the means or don’t see the value of participating in international exhibitions or cultural performances where they can showcase what type of music we have in Namibia.

This means we have a unique music that the world is yet to hear. Thus far whenever a Namibian artist appears on international stages or competitions they often came out as winners. We need to create and invest more in our ‘stars’ also to export them. This would also partially address the challenge of a relatively small population hence a small domestic market spread out in the country making distribution and exhibition challenging and expensive.

Another way to address the high costs of distribution would be to establish a central music and marketing distribution centre, where all the interested stakeholders can sell and buy the music directly and therefore minimize the artist’s efforts and related costs and time, they could spend on creating sounds, beats and music.

Lastly, with more favourable regulations, digital platforms could be more effectively used to make local music accessible and for sale.

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Creative Industry Guide Namibia 2019/2020

There might be unpolished gems of talents and artists out there that could excel with some more formal training.

TribeFire Studios is a creative space inhabited by a tribe of like-minded

media

brands

that share a common goal telling

stories

to

weave

positive Namibian narrative.

a

listings

LISTINGS 163 ACAPELLA GROUP 163 COMEDY 163 DANCE COMPANIES

& STUDIOS 164 MUSIC 165 PERFORMING ARTISTS

& PLATFORMS 165 PERFORMING ARTS CENTRES 166 POETRY 166 REGGAE ARTISTS 166 SOLO ARTISTS 167 THEATRE PRODUCTION 167 THEATRE & PERFORMANCE VENUES 168 THESPIANS 168 VISUAL ARTS 169 YOUTH CHOIRS 169 ART EQUIPMENT 162

Creative Industry Guide Namibia 2019/2020

 First Rain Dance Theatre

ACAPELLA GROUP

Beatrix Munyama

Vocal Motion Six VMSIX

 +264 81 693 1213

Dance studio.

 +264 85 211 0308

 Windhoek, Namibia

Contact Person: Mcbreaton Pieters

 vocalmotionsix@gmail.com

Da-Mai Dance Ensemble

 +264 81 700 9808

 Windhoek, Namibia

Dance Lecturer.

Dance Company, Dance Performance.

Contact Person: Trixie Munyama

COMEDY

 +264 81 693 1213

Mark Kariahuua

 damaidanceensemble@gmail.com trixiemunyama@gmail.com

Contact Person: Mark Kariahuua

 College of the Arts, 41 Fidel Castro St. Windhoek, Namibia

Master of ceremony, Stand up comedian.

 +264 81 450 7323  markkariahuua2@gmail.com  Zeta 1282, Khomasdal Windhoek, Namibia

Mich Aley Dandago Gaoseb Stand-up Comedian.

 +264 81 396 3007  michnbsc@gmail.com  Windhoek, Namibia

DANCE COMPANIES & STUDIOS

 fusionfunkdance@gmail.com  C/o John Ludwig & Hebenstreit Strasse Windhoek, Namibia  www.fusionfunk.weebly.com  FusionFunkStudio

Kongoma Dance Group Dance Company.

 Da-mai Dance Ensemble  Da-mai Dance Ensemble

Contact Person: Issy Nakamwe

Dance Domain

 +264 81 280 1709

Latin American and Ballroom Dance Studio, specializing in 22 different dance styles.

 issynak@yahoo.com

 +264 81 258 7128

 Windhoek, Namibia

 dancedomainnam@gmail.com

Ombetja Yehinga Organisation

 www.Markkariahuua.com  Mark Kariahuua  @markthefinest

Fusion FUNK Studio

 Lazarette Street, Southern Industrial Area, Windhoek, Namibia  www.dancedomainnam.com

OYO is an NGO using the Arts to create social awareness with young people.

Contact Person: Philippe Talavera

 +264 61 254 915

 Dance Domain Namibia

Dance Factory Swakopmund cc

 philippe@ombetja.org

Fully equipped dance and fitness studio for ballet, jazz, and modern dance.

 +264 64 403 367

+264 814 323 247

+264 81 251 2323

 4 Babie Street, Suiderhof Windhoek, Namibia  www.ombetja.org

 info@dancefactorynam.com

 OYOtrust

 Unit 3, Strauss Industrial Park Einstein Street, Swakopmund, Namibia

Selma Neshiko

 www.dancefactorynam.com

 +264 81 449 8113

 DanceFactoryNam

 selmakimorah@gmail.com

Equipped Dance Academy

 Windhoek, Namibia

 Deo Gloria Hall, Schlettwein Street, Pionierspark, Windhoek, Namibia

Contact Person: Standley Mareka

The Salsa Windhoek Social Club

 Anchen Wille Dance Academy

 equippedacademy@gmail.com

 dance@salsawhk.com

Arts Performing Center

First Rain Dance Theatre CC

 27 Trift Street, Windhoek, Namibia

Anchen Wille Dance Academy Modern dance and ballet academy.

Contact Person: Anchen Wille

 +264 61 242 152

+264 81 240 4954

 anchenw@iway.na

Contact Person: Lis Hidber

 +264 812 582 520

+264 67 222 520 +264 67 220 511

 artslis@mweb.com.na  Tsumeb, Namibia  www.n-apc-as.org

Dance Theatre.

Contact Person: Haymich Olivier

 +264 81 332 6157  frdtdance@gmail.com hayoli4@gmail.com  41 Fidel Castro Rd Windhoek, Namibia  www.frdtdance.com

Dance Company.

 www.salsawhk.com  Salsawhk

Walvis Bay Art Centre  +264 64 220 876

+264 81 303 7956

 Kingklip Street Walvis Bay, Namibia

Creative Industry Guide Namibia 2019/2020

163

MUSIC Belinda Lola Lorraine Mbaendavi Performing Artist: Bongani.

 +264 81 410 1562  Walvis bay, Namibia  Bonganisoul  @bongani_wesile  @Bongani_wogaroeb  Bongani Garoeb

Berend W. Skrywer Session Musician.

 +264 81 334 5721  waldoskrywer@gmail.com  Windhoek, Namibia

BORNFREE Entertainment

Namibia Musicians and allied Artists Union - and an Affiliate of the National Union of Namibian Workers (NUNW).

 +264 81 207 4422  mbaseuatjongarero@yahoo.com  Omaruru, Namibia

Dawid Seroun

Singing, festivals, private functions.

 +264 81 832 7181  Kalkrand, Namibia  www.sanetmusic.com  SanetMusic  @SanetMusic

Enock Pinto

Stolen Moments - Namibian Music History Untold is a national treasure hunt for the Namibian Music Culture that was almost forgotten, suppressed and made impossible to flourish under apartheid.

 +264 81 806 3983

+264 67 220 5211

 enockpinto3@gmail.com  Tsumeb, Namibia  www.stolenmoments.info  Stolen Moments Namibia

Ephrath Music Company

164

 Windhoek, Namibia

Lydia Garises

 www.ongoma.com www.drumcafe.com.na

 +264 81 475 1914

 Ongoma trading as Drum Cafe Namibia  Drum Cafe Namibia

FOMARKETING TRADING cc.

SN brings promising vocalists to stage to gain experience.The TV show follows the journey of undiscovered artists in Namibia as they try to make it.

 +264 81 270 3821  fomarketing@gmail.com  Windhoek, Namibia  songnightna

House of BongiNathi Contact Person: Shawn Unathi Skrywer

 +264 81 332 8283

 Windhoek, Namibia

Maranatha Singers  +264 81 255 4072  Windhoek, Namibia

Menrose Harakuta  +264 81 785 4335  menroseh@gmail.com  Windhoek, Namibia

Namibia Gospel Music Associotion Contact Person: Mwandingi Shalongo

 houseofbonginathi@gmail.com

 +264 81 378 3801

 Flat No. 7 David Hosea Meroro Street, CBD, Windhoek, Namibia

 mshalongo@gmail.com

Iron Else Bulan Matsuis  +264 81 345 8902

+264 81 296 0196

 pthaniseb@yahoo.com  Walvis bay, Namibia

Ismael Horaseb  +264 81 351 3491  rebirthnickyhoraseb@hotmail.com  Arandis, Namibia

Jeremia Haihonya  +264 81 206 9825  Windhoek, Namibia

Jolaame Linda Kwenani

 Windhoek, Namibia

Namibian Society Of Composer And Authors Of Music (NASCAM) Contact Person: Eino-John Max

 +264 61 229 116  namsoc@iafrica.com.na  5 Johnson Street Windhoek, Namibia

Ndilimani Cultural Troupe

The troupe was founded to educate the international community about the sufferings and bravery of the Namibian people under apartheid.

Contact Person: Jessy Nambanza

 +264 61 258 788  jjkandala@yahoo.com

 +264 81 280 0335

 www.kalahariholdings.com/ subsidiaries/ndilimani-culture-troupe/

 jolaame.kwenani@msyns.gov.na

Ongoma / Drum Cafe Namibia

 Windhoek, Namibia

Lina Ursula Binga  +264 81 431 3312

Corporate Entertainment, Performances, Team Building.

 +264 81 395 5031

 lubinga80@gmail.com

 tondskwembsw@gmail.com

 Gobabis, Namibia

Creative Industry Guide Namibia 2019/2020

 tsatagos@gmail.com

+264 81 206 0716

Drum Cafe Namibia offers corporate entertainment as well as interactive drumming for teambuilding, conferences and tour groups or private social functions.

Contact Person: Irmi Roder

 +264 81 258 0141  ongoma@drumcafe.com info@ongoma.com

 8 Pettenkofer Street, Windhoek West Windhoek, Namibia

 +264 81 356 3087

Nangula Hamwalwa

 Walvis bay, Namibia

 +264 81 232 6670

Willibard ‘Dr. Activator’ Narib

 nnhamwaalwa@gmail.com

 +264 81 272 0192

 Windhoek, Namibia

 wnmission@gmail.com

PERFORMING ARTS CENTRES

 www.drumcafe.com.na

Sanet Lambrechts Contact Person: Sanet Lambrechts

 +264 81 230 2615  Swakopmund, Namibia  sanet@sanetmusic.com eendrag@goagri.com  Kleine Kuppe, Okondeka street Windhoek, Namibia

Savannah Afros Contact Person: Tapuwanashe Munyayi

 +264 81 334 0667  savannahafros@gmail.com tapuwa23@gmail.com  63 Robert Mugabe Avenue Windhoek, Namibia

Song Night

PERFORMING ARTISTS & PLATFORMS Destiny Music Academy, Siegfried Gariseb

CHINAMIBIA Arts Education for Development Art management and education for youth.

Contact Person: Vetira Kapenagutjiua

 +264 81 300 5673  chinamibia@gmail.com

 +264 81 869 5868  Windhoek, Namibia  garisebsiegfried167@gmail.com  Windhoek, Namibia

Elvit

College Of The Arts Institution of arts education

Contact Person: Angelika Schroeder

Performing arts and music.

 +264 61 374 100

Contact Person: Lize-Leandra Ann Ehlers

Contact Person: Kaveere Uritura

 +264 81 277 1671

 +264 81 576 5568

 1 Fidel Castro Street, CBD Windhoek, Namibia

 elvituritura4greatness@gmail.com

Committed Artists of Namibia (CAN)

 lizeleandra@me.com  131 Dr Keneth D Kaunda Drive, Eros Windhoek, Namibia

Steven Afrikaner  +264 81 241 4844  s_afrikaner@yahoo.com  Windhoek, Namibia

Stolen Moments Contact Person: Baby Doeseb

 +264 81 400 4412  contact@stolenmoments.info  Windhoek, Namibia

Warren I. Ganaseb ‘Uncle Warren’

Producer, Sound engineer, Composer, Arranger, Audio Post-Producer.

 +264 81 271 9907  ganasebwarreng@gmail.com  Windhoek, Namibia

Wewerly Jerome K.Losper

+264 81 316 0000

 1337 Ondangaura Street, Cimbembacia Windhoek, Namibia  Elvit Uritura  @ElvitUritura

Frans Dimbare Rural Youth Skills Training Centre: Talent Competition Contact Person: John Mushonga

 +264 81 366 1133  johnmushonga6@gmail.com  Divundu, Namibia

Kufamosha Film Production Drama Group.

Playwright.

Contact Person: Frederick Philander

 +264 81 717 2406  frederickbrian.philander@gmail.com  Windhoek, Namibia

Dingala Arts at Samora Machel Youth Dev. Programme Youth Developm. Programme.

Contact Person: Denys Shinyama

 +264 81 830 6838  Windhoek, Namibia

Eenhana Youth Centre

Contact Person: Petrus Nangolo Tiofilus

National Arts Extension Programme (NAEP): Music, Drama, Visual Art Workshops.

 +264 81 299 2688

Contact Person: Avelinus Jacobus

 Walvis Bay, Namibia

 +264 81 400 0400

Lara-Lyn Ahrens

 jycobzjames@gmail.com

Art Director

 Eenhaha, Namibia

 +264 81 262 4414  lara@iway.na  Windhoek, Namibia

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165

NAPeCAs (Namibia Arts Performance Centres Association)

 +264 81 354 0924

 Windhoek, Namibia

 v2snamibia@gmail.com

 Township Productions

Contact Person: Vic. Hans Leu

 Swakopmund, Namibia

Wilson H. Billawer

 +264 67 304 502

+264 81 127 2376

 rcpcleu@iafrica.com.na  Otjiwarongo, Namibia  www.n-apc.as.org

Omaruru School of Arts

POETRY Annalien Van Wyk  +264 81 148 3685  flexinonnie@gmail.com

Visual arts centre.

 Keetmanshoop, Namibia

Contact Person: Sabine Stumpfe

Cafas Marenga

 +264 81 312 7501

 +264 81 604 3473

 palmenhorst@afol.com.na school@omaruruart.com

 marenga.kamaazengi248@gmail.com  Gobabis, Namibia

 Omaruru, Namibia  Omaruru School of Arts

The Nikhita Winkler Dance Theatre/Project

The Nikhita Winkler Dance Theatre/Project teaches children the art and discipline of dance from the age of 4 years to adults.

We teach contemporary, hip-Hop and local traditional dance styles. You can view our work on Facebook or Instagram.

Contact Person: Nikhita Winkler

Erastus Shalipo Kupololo  +264 81 311 3585  eskupololo@gmail.com  Windhoek, Namibia

Lacy Lover

Spoken Word Performance & Poetry Production.

Contact Person: Lynn Komu

 +264812651838  +264 81 625 4514  nwdanceproject@gmail.com  lynnkomu@gmail.com  Windhoek, Namibia  nwdancetheatre

 Windhoek, Namibia

 @nwdancetheatre

 www.teloverchronicles.blogspot.com

Tsumeb Arts Performance Centre

Visual, music, and performing arts centre.

 Lacy Lover  @Lacy Lover  @themotherofelephants

Contact Person: Lis Hidber

Spoken Word Namibia

+264 81 140 5673

 wbillawer@yahoo.com  Windhoek, Namibia

reggae ARTISTS Ferdinand Gereseb  +264 81 629 2869

+264 81 625 0107

Gerson ‘Gerry Dread’ Mandavela  +264 81 211 5605  gmandavela@yahoo.com  Swakopmund, Namibia

Rasshee Records

Providing top class live music entertainment at corporate and other events by Ras Sheehama, a well-known and established Namibian artist.

Contact Person: Ras Sheehama

 +264 81 272 7391  rasshee3@gmail.com  Windhoek, Namibia

SOLO ARTISTS Andreas Nanghonda  +264 81 228 2812  Swakopmund, Namibia

Monthly spoken word poetry platform.

Bernadus !Hoaeb

 spokenwordnam@gmail.com

 +264 81 698 4478

 artslis@mweb.com.na

 Windhoek, Namibia

 Walvis bay, Namibia

 Augustinus Route 2 Tsumeb, Namibia

 Spoken Word Namibia  @spokenwordnam

Cornelia Atjiwara

 www.apcnamibia-lis.ch/apc.php

Township Productions

 +264 67 22 2520

+264 81 2921139

Walvis Bay Art Centre  +264 64 220 876

+264 81 303 7956

 Walvis Bay, Namibia

Promotion of poetry, written, performance and publication.

ZYM Children & Youth Multi-disciplinary Art.

Contact Person: Lizette Feris

Creative Industry Guide Namibia 2019/2020

Piano & Guitar.

 +264 81 884 5225

+264 81 221 4130

 Khorixas, Namibia

Contact Person: Keamogetsi Joseph Molapong

Edo ‘DICE’ Lutete

 +264 61 216 127

 +264 81 203 1009

166

 +264 61 290 3517

+264 81 293 9333

 mola@iway.na

 dice1stunner@gmail.com  Windhoek, Namibia

Elifas (Cax) Samuel

Valencia P. Nyangana

 ptheatreschool@gmail.com

 +264 81 423 1517

 Tsumeb, Namibia

 valencianyangana@gmail.com

Prometheus Investments

Clarinet & Sax player.

 +264 81 780 6612

+264 67 220 511

 Tsumeb, Namibia

 Gibeon, Namibia

Gothard Gotlieb Nowaseb

Willem ‘Cho-Cho’ Namupolo

 +264 81 298 2904  nowasebgothard@gmail.com  Windhoek, Namibia

Jerry-Joe (Jaggerjuice) Amole Songwriter/ Instrumentalist.

 +264 81 758 9661  Jaggerjuice@gmail.com

 +264 61 215 977

+264 81 212 0792

 jakufelaent@gmail.com  Windhoek, Namibia

THEATRE PRODUCTION Committed Artists Of Namibia

 Windhoek, Namibia

Theatre.

Jonathan Allen ‘Swartbaster’ Chindumba

Contact Person: Freddy Philander

 +264 81 294 1741  naughtycrewmusicpro@gmail.com  Windhoek, Namibia

Lize Ehlers

Singer, Songwriter, Actor, Poet, Facilitator, MC. Contact Person: Lize Ehlers

 +264 81 277 1671  lizeehlers@gmail.com  131 Dr. Kenneth David Kaunda Street, Eros, Windhoek, Namibia

 +264 81 717 2406  Windhoek, Namibia

THEATRES & PERFORMANCE VENUES Fellemon Ndongo Acting and Directing.

 +264 81 365 7180  Windhoek, Namibia

Mathilda Joseph

 TheLizeMusic

Theatre Practitioner.

Nghidimbwashali ‘NAXA’ Nakale

 +264 81 206 5706

Guitarist.

 +264 81 304 3081  naxarocks@gmail.com  Ekoka Village Okongo, Namibia

Stella-Marie ‘Stella’ !Naruses  +264 81 215 8187

 mathildajoseph@yahoo.com  Karasburg, Namibia

The National Theatre Of Namibia (NTN) To create, produce and promote theatre in all its dimensions, as a creative expression.

To identify, develop and promote creative talents and artistic skills, careers, services and production, as a response to national challenges, and to grow a creative, knowledge-based economy, as well as nurture national pride and identity.

 +264 61 374 400

+264 61 374 403

 info@ntn.org.na marketing@ntn.org.na  John Meinert Street Windhoek, Namibia  www.ntn.org.na  National Theatre of Namibia  @NTNNamibia  @ntnnamibia

Theatre Sports Contact Person: Simeon Lucky Shikongo

 +264 81 302 8859  luktosshikongo@gmail.com  Windhoek, Namibia

Tupa Mo Theatre Investment

Tupa Mo Theatre Investment - Candle Light Youth Project.

Contact Person: Eino Angula Kamati

 kamatieino@gmail.com

+264 81 208 1530

 vivian@mweb.com.na

 www.omalaeti.com

 Windhoek, Namibia

 Windhoek, Namibia

 +264 61 40 2102

 Swakopmund, Namibia

 tutalenika@gmail.com

 +264 81 127 5184

 +264 81 484 0572

 Zoo Park Windhoek, Namibia

 +264 81 442 1054

Contact Person: Constanze Pimenta

Omalaeti Media Group

 stellakapepo@gmail.com

Tutaleni Kashani

Theatre.

Playaville Theatre School Theatre School.

Contact Person: Peter Sivil Linyondi

 +264 81 414 6258

 Oshakati, Namibia

Warehouse Theatre

Multipurpose theatre and events venue.

Contact Person: Micheal Ott

 +264 61 402 253

+264 81 129 0095

 warehouse@namrock.net  48 Tal Street Windhoek, Namibia

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167

 werahcafe1@gmail.com nkatamba@gmail.com  Ndama Location Rundu, Namibia

THESPIANS Blessing Mbonambi

Award winning playwrighter, director and actor.  blessingmbonambi@gmail.com

Junelle Stroh

Contact Person: Sandy Rudd

 +264 81 124 0541  sandyrudd60@gmail.com  21 Rykvoet Street, Klein Windhoek Windhoek, Namibia  TheProjectRoomNamibia  @TheProjectRoomNamibia

Werah Cafe & Theatre

Multipurpose venue for performing arts and exhibitions.

Contact Person: Hafeni, L. Nanyemba Katamba

 +264 81 615 4204

 +264 81 304 3081  naxarocks@gmail.com  Ondangwa, Namibia

Art in the House Contact Person: Alpheus Mvula

 +264 81 248 2543  alfeusmvula@yahoo.com

 junellestroh@yahoo.co.uk

 Windhoek, Namibia

Lara-lyn

Barbara Böhlke

 +264 81 262 4414

Visual artist, paintings inspired by the vast Namibian spaces painted with natural pigments from Namibia, ash, acyrilic paint and oil paint on canvas.

 lara@iway.na

 artbb@iway.na

 4 Andries de Wet Street Windhoek, Namibia

 Windhoek, Namibia

 lara.lyn.namibia

Is a drama initiative to try to find ways of doing experimental and scripted theatre; in innovative spaces with creative and limited budgets. PLAYMAKERS encourages producing and developing locally written scripts, with an emphases in Yoth Theatre and School Musicals and Productions, PLAYMAKERS specializes in drama workshops with marginalized and special needs communities, PLAYMAKERS focusses in made to measure industrial theatre presentations, international productions and festivals.

Contact Person: Nghidimbwashali Nakale

Playwrite, actress and drama teacher.

Contact Person: Lara-Lyn Ahrens

Playmakers

Art Comes to You (ACTY)

Pegasus Entertainment Productions

Producer of theatre and music events.

Contact Person: Senga Brockerhoff

 +264 81 620 9760  pegasusprod14@gmail.com  Rehoboth, Namibia

VISUAL ARTS Actofel Art

Actofel art is an creative organisation that deal with Visual Arts, Concerpt development, graphic art and curatorship service. We are in the namibia creative industry.

 www.barbaraboehlkeart.com

Charles Nguvenjengua Contact Person: Charles Nguvenjengua

 +265 81 287 2754  charleszamuee@gmail.com  Okahandja, Namibia

Dawid Seroun Contact Person: Dawid Seroun

 +264 81 832 7181

+264 63 264 008 +264 63 264 005

 Kalkrand, Namibia

Edcens Ndjavera

Contact Person: Actofel Ilovu

Contact Person: Edcens Ndjavera

 +264 81 213 1090

 +264 81 388 8311

 actofelart@gmail.com

 endjavera230@gmail.com

 Flat No 12, Leonard Awala St. Katutura Windhoek, Namibia

 Okahandja, Namibia

Antonius Shiimi Contact Person: Antonius Shiimi

 +264 81 464 0070  antoniustshuuveni@gmail.com  Walvis Bay, Namibia

Elia Shiwoohamba Contact Person: Elia Shiwoohamba

 +264 81 21 25 156  eliashiwoohamba@yahoo.com  www.showoohamba.wordpress.com  Windhoek, Namibia

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Essi Kauko Awene

Maria Kandambo Mbereshu

Contact Person: Essi Kauko Awene

Contact Person: Maria Kandambo Mbereshu

 +264 81 741 1165

 +264 81 893 5558

 essikawene1@gmail.com

 goldenmary_1@yahoo.com

 Tsumeb, Namibia

 Rundu, Namibia

Hage Mukwendje

Namibian Arts Association

Contact Person: Hage Mukwendje

 +264 81 320 7155  hagemukwendje@gmail.com

Huisen Arts Workshop Contact Person: Rudolf Seibeb

The Namibian Arts Association is a memberbased organization, with the mandate to advance art by supporting emerging & established artists and being the custodian of the oldest art collection in the country.

Contact Person: Niina Turtola

 +264 61 302 261  niina.turtola@gmail.com

 +264 81 207 7956  Okahandja, Namibia

 10-14 Macadam Street, Old Krüner Kranz Complex, Windhoek, Namibia

ILENI PAMWE PROJECT

 Namibian Arts Association

Contact Person: David Amukoto

 +264 81 656 9061

Okahandja Fine Art cc.

Contact Person: Siegfried April

 +264 81 238 2370

 Windhoek, Namibia

Joseph Onesmus

 siegfriedap@gmail.com

Contact Person: Joseph Onesmus

Shikufinde Cultural Group

 +264 81 308 6507  oneseph@gmail.com  Oshakati, Namibia

Kavango Artists Collective Contact Person: John Makanga Kalunda

+264 81 635 9795

Cultural Group.

Contact Person: Emilia Shimwefeleni

 +264 81 292 3772  Oshikango, Namibia

 kalundam.john@gmail.com

 +264 81 620 2225

 Windhoek, Namibia

 djaimeelee@gmail.com

Kerstin (Kay) Cowley

 27 Drakensberg Street Eros Windhoek, Namibia

 +264 81 314 0631

+264 61 206 3835

 Windhoek, Namibia

 Artclasswindhoek  @jaimeeprettylee  @Something_Artsy_Windhoek

Tulina Nakashona

Site Specific textile Art, Textile Art & Fibre Art.

Lynette Diergaardt

Contact Person: Tulina Nakashona

Contact Person: Lynette Diergaardt

 +264 81 037 1424

 +264 81 287 2202

 tulinanakashona@gmail.com

 lynettediergaardt@yahoo.com

 Windhoek, Namibia

 Windhoek, Namibia

Contact Person: Barbara Böhlke

 +264 81 273 0969  artbb@iway.na  64 Dr. Kenneth Kaunda Street, Klein Windhoek, Windhoek  www.barbaraboehlkeart.com

YOUTH CHOIRS Ronnie Rheis  +264 61 249 292

+264 81 148 6027

 expectationsministries@gmail.com  Windhoek, Namibia

ART EQUIPMENT & WORKSHOPS Middle West Investment

Supply of Art Equipment. Property Valuation.

Contact Person: Stefanus Shidolo

 +264 81 338 4270  shidolostefanus@gmail.com  Pullman Street, Windhoek North Windhoek, Namibia

Teaching Art.

Contact Person: Jaimee-Lee Diergaardt

Contact Person: Kerstin (Kay) Cowley

Cultural Group Paintings inspired by the vast Namibian spaces painted with natural pigments from Namibia, ash, charcoal and acrylic paint on canvas.

Something-Artsy

 +264 81 474 6051

Multi-disciplinary/ material-based/ installation/ performance-based.

Visual Artist

Pod Studio

Art Expression Courses, Workshops, and Individual Support designed to nurture creativity, playfulness and self-discovery.

A variety of art techniques are explored in spontaneous, semi-structured ways. The aim is not to produce aesthetic results/’good’ art, but to enjoy and foster one’s innate creativity.

No skills or experience in art are required.

Contact Person: Silke Berens

 +264 81 334 4695  podstudionam@gmail.com  Socrates Street, Academia Windhoek, Namibia  www.pod-studio.business.site/?m=true

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SECTOR

10

Creative Institutions, Services & Resources Creative Industry Guide Namibia 2019/2020

171

Strengthening Arts Education for the Growth of the Creative Economy Arts education is vital to the economic growth of any nation. African art and crafts, films, music, textile, and architectural designs among others, have the potential of telling ‘the African story’.

If only they were competitive enough. As it has been argued in the past, the skills and training that could bring economic benefits to the artists, as well as the society, are declining owing to marginalization brought about by globalization which has undermined the creativity of traditional societies.

While at one level modernization has many positive impacts on people, it has also had a negative impact on African societies. It has tended to destroy local creativity and subjugated local peoples to Eurocentric and Westernized ethos.

Reviving the art industry is not only crucial for the modern society but could also promote economic growth and contribute to poverty reduction in the region. In order to challenge the significant changes brought about by the imposition of colonial forces, there is a need to incorporate art in the education system because it teaches us to challenge the grand narrative and excavate hidden chronicles. It is for us to tell stories that are occluded from history.

This is what is meant by decoloniality and decolonisation.

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sar

The importance of Art Education Realising the importance of Art Education, in 2006, the Lisbon Conference on Art Education was organised by UNESCO to achieve feasible results. The Lisbon Conference demonstrated the value of arts education, affirming the need to build creative capacities in young people and to advocate arts education in all societies. One important focus was the implementation of arts education programmes for people from disadvantaged social backgrounds.

The second World Conference on Art Education took place in 2011. As a product of UNESCO’s Second World Conference on Arts Education, the Seoul Agenda was intended to build on the UNESCO Road Map for Arts Education that was a major outcome of the First World Conference. The Road Map offered an important theoretical and practical framework that provided guidance for advancing the qualitative development and growth of arts education.

Sarala Krishnamurthy

The Seoul Agenda served as a concrete plan of action that integrates the

Prof Sarala Krishnamurthy is

substance of the Road Map within a structure of three broad goals, each

at NUST. She teaches at the

accompanied by a number of practical strategies and specific action items.

Post Graduate level. She has

The three goals were:

published widely and presented

GOAL 1. Ensure that arts education is accessible as a fundamental and

papers at international

sustainable component of a high quality renewal of education;

conferences. She is working

GOAL 2. Assure that arts education activities and programmes are of a high

on two major projects: 1. P3ICL

quality in conception and delivery; and,

project, funded by EU, for

GOAL 3, Apply arts education principles and practices to contribute to resolving the social and cultural challenges facing today’s world.

preserving indigenous culture and languages, and 2. Herero Genocide Narratives.

Empowering students to be creative The significance of art in the development of a child cannot be underestimated.

It is through art that a child is able to understand and clearly arrive at meanings of their surroundings. It is a well-known fact that students perform better using visuals and illustrations to learn than those who learned without them.

In addition to enabling students to understand better, art education also stimulates children to discover their talents through such exposure. Art endows people with a sense of identity and self-reliance. It enables them to express themselves and connect with others, and thereby become tools of communication. Artists have the ability to critique societies through their art, to “hold a mirror up to nature” so that it can see its own ugly reality.

Art can contribute to building and perpetuating social, religious, political and economic stability of a society. As such, Doctor Bojor B. Enamhe of the Cross

rala

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River University of Technology in Nigeria, argues that art should be given importance like other subjects in the school curriculum. It should reflect a study of all ages and cultures and how they relate to the development of individuals. According to him art helps students to advance the necessary imaginative, intellectual, theoretical and practical skills necessary to equip them for continuing personal development and professionalism.

The Ministry of Education should therefore commit to making an impact on economic growth, development and tourism through targeting the development of cultural industries which are organised around the production and consumption of culture and related services, and invest in an infrastructure for arts, culture and heritage education.

The shift to market-based models of education and the neo-liberal education rationalisation policies seem

Educators and educational institutions should be identified

at odds with the social justice agenda of a democratic

as part of the mechanism of re-conceptualising the arts.

state. Market-friendly policies are linked to human capital

Since education was used to deny the values of ‘other

theory which holds that improving education will lead

cultures’, it should now be used to redress that injustice.

to economic growth. But human capital theory is often

Education is expected to create a new means for shaping,

applied in a manner which ignores the history, social

challenging, affirming and exploring personal and social

struggles and other interrelated factors that comprise an

relationships and community identity. It is expected to

education system.

build a sense of pride in our diverse cultural heritage.

Developing policies to improve art education Challenges to art education

The two conferences hosted by UNESCO aimed at

Many parents are reluctant to send their wards to art

providing a unique platform for Africans to devise and

classes because they believe that it is too expensive

implement appropriate policies, strategies and concrete

on the one hand and, on the other hand, they dissuade

actions as a response to the needs and opportunities of

their children from studying art because they think it will

the 21st Century. From these international cultural policy

be impossible to earn a good living from art. There is a

instruments to which many African countries subscribe, as

negative perception about art that it is for lazy people.

well as the African policies and plans created by Africans themselves under the auspices of the African Union, the

The curriculum for arts education does not take

need for arts education is clear. This is decolonization and

cognizance of the epistemological and ontological

it contributes towards nationhood. As such, it should be

differences amongst the different art forms influencing

prioritized in every country’s development goals. Culture

the pedagogy of art teaching, training and skills

is thus conceptualised as an inclusive, giving voice to the

development. Drama practitioners’ approach to their art

disposed and marginalised and narrating an imagined

form is very different from how a visual arts teacher

national identity.

conveys concepts, ideas and structures in her subject.

acculturative process’, the curriculum policy will have

Further, this is also complicated by the fact that there

to acknowledge the dynamics of culture formation, and

are different ethnic identities jostling for space within the

raise questions of who and how cultures are shaped.

constraints of a fixed curriculum.

Further, in seeking to ‘mediate the

fostering the understanding and appreciation of arts in Namibia, by upholding a high standard of efficiency in art, and defending the moral and material interest of artists in Namibia.”

Art endows people with a sense of identity and self-reliance.

Government should develop policy guidelines in favour of art in education. The subject should be main-streamed in all primary and secondary schools. There should be a close monitoring of arts and the pedagogy of art education in schools. The curriculum for fine arts should be structured in such a way that pupils will enjoy their classes by including participatory activities in arts to make it easily accessible.

We must observe that arts have a key role to play in

Conclusion

the growth and development of the Namibian economy

Art in Education is a very important part of our

and therefore need to remain critical in developmental

educational system.

processes. This means that for art to benefit, Government

Therefore, it should be given

adequate consideration.

The subject should be

needs to effectively commit to the arts and enable the

introduced in all schools and it should be a compulsory

sector to achieve its roles. The Ministry of Education and

subject at all levels. Improvisation of local materials

all stakeholders, should adopt policies as guidelines to

is necessary and will lessen the monetary burden on

develop education.

parents. Schools should be able to train pupil’s artistic creativity and experience to utilize local materials and

Beyond that, ‘creativity’ might have to be mainstreamed

tools. This can stimulate creative interest and the power

in all subjects as it is questionable if the current way

of imagination. Art materials can be supplied to students

we are taught, or not taught to be creative, responds to

free by schools as motivation to explore this subject.

industry needs. Interestingly, this would not only affect Arts Education. Therefore a question to ponder would be:

Exhibitions, conferences, seminars and workshops

How can the education system better prepare the movers

should be organized for exchange of ideas and awareness.

and shakers of tomorrow and how can we encourage

When art conferences, seminars and workshops are

cutting edge, out of the box academic research in order to

organized, participants hear and learn more about art,

stimulate critical thinking and questioning?

which will arouse new interest in art or create new knowledge in art activities. In order to achieve results, tertiary institutions that offer art should do so with an ultimate goal of producing creative artists to sustain and revive art education.

The National Arts Council of Namibia should carry out their objectives, which among others, includes “to protect and promote Namibian artistic heritage by

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1 OPERATIONS

8

Enhance operations, monitoring & evaluation to ensure compliance.

IMPACT & INSPIRE

2 RESOURCE MOBILIZATION

To represent, include and empower vulnerable & marginalized communities and inspire Namibians.

Mobilize resources to bridge funding gap and provide financing.

SECTOR

7

Mainstream the Cultural & Creative Industries (CCI) for national development, regional integration and global markets.

DELIVERABLES

To implement NACN led Activities.

3

STRATEGIC PLAN RESOURCE DISTRIBUTION

PARTNERSHIPS

Identify & build relationships with key partners locally and globally.

6

Financial assistance for bursaries, grants and skills development & training.

EDUCATION

Advocate & support formal and informal arts education.

4

5 THE VISION OF

THE NACN

“To unlock the creative potential of the nation and enhance a rich Namibian identity through creative and active people running a sustainable art industry.”

THE VALUES OF

THE MISSION OF

THE NACN

“To build an enabling environment for the identification, support and development of the creative talents of Namibians for the betterment of self, community and the nation through support for and development of a sustainable art industry.”

THE NACN:

Accountability | Commitment | Respect and Empathy | Teamwork | Professionalism

THE COUNCIL CONSISTS OF THE FOLLOWING MEMBERS: MAIN MEMBERS

PATRICK SAM (CHAIRPERSON)

SHAREEN THUDE (VICE-CHAIRPERSON) | SANET STEENKAMP (EXECUTIVE DIRECTOR) ERVAST MTOTA (DIRECTOR OF ARTS) | IMMANUEL (FINANCE REPRESENTATIVE) | DALICIA OLIVIER | LEITAGO /NARIB

ALTERNATE MEMBERS PETRONELLA NEISS | FELIX HAINGURA | MARTHA AMUTENYA | AMBROSIUS SINDANO VENO KAUARIA (DEPUTY EXECUTIVE DIRECTOR LIFE LONG LEARNING) M’KARIKO AMAGULU (DEPUTY DIRECTOR OF ARTS) | VACANT (FINANCE REPRESENTATIVE)

THE NATIONAL ART COUNCIL IS ADMINISTERED BY A SECRETARIAT. THE SECRETARIAT CONSISTS OF THE FOLLOWING INDIVIDUALS: GRETTA GASPAR (CHIEF EDUCATION OFFICER – NACN ADMINISTRATOR) | MALAKIA MATHEUS (SENIOR ACCOUNTANT) ERENFRIEDE HAINGURA (ADMINISTRATIVE ASSISTANT) | SAUL KAMURE (ADMINISTRATIVE ASSISTANT) MARCELLINUS SWARTBOOI (PROJECT OFFICER)

www.artscouncilnam.org | @artsinNam | @assa2018Africa | Arts Council Namibia

061 293 3311 | 061 293 3363

artscouncilnamibia@gmail.com

Kristen Capp Kristin Capp is a photographer, author and educator. After 16 years in New York, she moved to Namibia in 2011. Capp is a Rockefeller Fellow, Fulbright

Creating Synergy in Creative Education

Scholar, and has published three photography books. She teaches photography and heads the New Media program at the College of the Arts in Windhoek.

One could argue how a solid investment in the creative education of young minds can help stimulate a country’s development. However, this should go without saying.

The question to rather pose should be ‘how can an educational institution ensure that their students are ready for the real world’.

I have worked with students from the University of Namibia and the College of the Arts for almost a decade. Over this time, I’ve observed how critical it has been to nurture, in the context of an academic and creative space, a network between students and experts from the creative industry.

This culture of community and interdisciplinary engagement is a great strength. To see the talent and potential everyday as I do with my photography students make me optimistic.

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This interconnectedness between industry partners and

Another facet of our course is to invite collaborations

the students, creates a dynamic relationship that I see

with local advertising agencies and digital marketing

as a great potential for the arts, and for arts education

experts to work with students in the context of a class

in Namibia.

called ‘Graphic Design Campaign’. To date, we have had successfully collaborated with agencies in Windhoek such

In my role as photography lecturer and head of the New

as TinCup Digital | Marketing Agency and Weathermen & Co.

Media Design programme at the College of the Arts, I have seen a creative community flourish as a result of

I believe that as artists and experts in the creative fields,

this collaboration.

we know that the way forward is through creative problem solving and in working together with the next generation

Integral to the curriculum of the New Media Design diploma

of students. This builds their own belief in their skills,

programme at COTA, is a unit called Design Perspectives.

while giving great insight into what the industry requires

This weekly guest-speaker series connects students

of them, in the form of skills and thinking.

directly with local and international artists, designers, brand experts, activists, filmmakers, photographers and

Now, if only creative education and institutions like ours

creative directors, to name a few.

can enjoy the same level of support and respect as those in science and technology.

When we ask someone to speak to students and visit the New Media programme, the answer is almost always an emphatic “yes”. They understand the importance of what we achieve.

du in

ry

st

Intellectual property is defined as “the creations of the mind.” This, in a layman language, refers to any original creation that was invented by someone or collectively by a group of people with a primary purpose of addressing socioeconomic development challenges facing a given community or the world at large. This may include but is not limited to educational material, healthcare products, utility equipment, business models, entertainment products and services, and information communication technology apparatus.

Moses Molatendi Mr Moses Molatendi Moses is Manager: Knowledge Management, Intellectual Property and Technology Transfer Division within the Research, Science, Technology and Innovation Coor-

For the second edition I will exlpore the future of the creative industry in Namibia,

dination and Support Depart-

making specific reference to the new age of digitalisation and the opportunity it

ment. He is responsible, among

presents to the creatives minds within the informal sector. I will also provide a brief assessment on whether digitalisation has an impact on the Namibian economic environment and how it could contribute to, and/or uplift local communities.

The future of the creative industries in Namibia There is a commonly used phrase in the Oshiwambo traditional knowledge

others, for the identification of undocumented knowledge in and around Namibia’s rural communities with the primary purpose of value addition, protection and management of same to derive intellectual

systems that goes like “Waa pandula noka yaka,” which, when loosely translated

property benefits thereof. He

simply means, “Ungratefulness may land one in trouble.” For this topic, the above

is also responsible for Intel-

idiomatic expression is used to caution and/or advise ourselves to be grateful for

lectual Property and Technology

what has taken place so far in terms of socio-economic developments within

Transfer Policy development

Namibia’s creative industry since independence. During the pre-independence

and implementation to facilitate

era, Namibia’s creative industries did not have the same face that many people

smooth coordination of research

associate it with today. For obvious reasons, opportunities were not readily

and R&D, to ensure effective

available to every citizen in the same manner that they are today. In the education

technology transfer activi-

sector for instance, subjects that are regarded as ‘door openers’ to the creative industry arenas were either unavailable to most non-white citizens or available but

industry

My personal view on the Creative Industry Guide initiative

ties within public and private research institutions.

not well explained for learners and students alike to gain the necessary interest therein. To start with, relevant legislations and responsible public institutions were not in existence to guide, protect and promote creativity in general.

y Creative Industry Guide Namibia 2019/2020

181

This, in itself, led to Namibia as a nation to rely heavily on

(the BIPA Act of 2016) was also promulgated to enable the

foreign products and services that made the country’s

establishment of BIPA that facilitates process of business

creative industry tick.

registration and coordination of all intellectual propertyrelated activities, most of which are undoubtedly found in

However, as time passed, and Namibia started slowly

creative industry. It is also worth mentioning that the BIPA Act

but surely, perfecting the art of ‘learning from the best’,

was preceded by the National Policy on Intellectual Property,

the country embarked upon some notable strategic

which provides direction on the country’s intellectual property

initiatives that are aimed at placing Namibia on par with

management aspirations.

most countries in the region if not on the continent and/ or the world in some notable instances. First and foremost,

The future of Namibia’s creative industry is encouraging due to

the country sought to accede to relevant international

the fact that the country has embraced modern technological

conventions, treaties and protocols that are directly talking

advancements, both at policy and legislative levels to ensure

to activities and developments in the creative industries of

and facilitate smooth operations and activities within the

the world. With that, followed the introduction of relevant

sector. It therefore goes without saying that despite the fact

national policies and statutory provisions, putting in place

that there are footprints on the moon, the sky remains the

appropriate public institutions and training of capable and

limit for Namibian role-players in the creative industry and as

willing personnel to acquire the required skills necessary for

a result, the future therefore stays bright. We should continue

effective implementation. This also led to similar initiatives

learning from the best in matters related to the development

in the private sector, especially for those entities that are

of our creative industry and be grateful that enabling

run primarily on a commercial basis. A few examples of the

platforms have indeed been created for the country’s creative

afore-said initiatives are listed hereunder.

industry to prosper.

•

Promulgation of the Copyright and Neighbouring

Digitalization and the opportunities it presents to the

(Related) Rights Act in 1994, which together with other

creative minds within the informal sector

enabling legal instruments, led to the establishment of

Digitalization is briefly defined by the Merriam Webster

institutions such as:

Dictionary as “the converting of something into a digital

the Namibian Society of Composers and Authors of

format.” On the other hand, the IGI Global Network defines

Music (NASCAM);

digitalization as “the adoption of digital technologies to

• •

the

Namibian

Reproduction

Rights

Organisation

modify and transform business models, the primary aim of

(NAMRRO);

which is to create value from the use of new and advanced

•

the Namibia Film Commission;

technologies, by exploiting the digital network dynamics and

•

the National Arts Council of Namibia;

the gigantic digital flow of information.” It can therefore be

•

the National Arts Gallery of Namibia;

deducted from the two definitions of digitalization provided

•

the Namibia National Writers Union (NANAWU);

above that the world has moved into a new direction when it

•

the Namibia Publishers Association;

comes to creativity, and Namibia cannot afford not to follow

•

the Namibian Editors Forum, and

suit. The emergence of digitalization in Namibia did not catch

•

the Namibia Music Industry Union to mention but a few.

many people by surprise as the whole migration process from the use of analogue to digital equipment and accessories

It is common knowledge that role players in the above-

took place step by step. Since the focus for discussion is on

mentioned entities do not carry out their activities free or

the creative industries, some examples could be provided in

charge. As a result, formalising these activities in a manner

the same vein on the following business opportunities that

that is not only legal but also commercially beneficial to

have been presented to the creative minds within the small

the owners and stakeholders alike, such entities needed to

and medium-sized enterprises popularly known as SMEs:

be registered. It was on that score that public organisations such as the Business and Intellectual Property Authority Act

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Photography – In the analogue era, photographs were

Literary works – Gone are the days when authors used

taken using camera only and printing of same were done

to rely heavily on editors from big publishing houses to edit

in darkrooms of sophisticated studios. With digitalization,

and scrutinise their manuscripts before publishing. The

smart phones can perform more or less the same functions

cost incurred enroute to publishing were enormous which,

with regards to taking of photographs, and the printing

in most cases, leaves the poor authors indirectly indebted

thereof can be done using mobile printers where the quality

to the publishers. This, in most cases, is the reason why

is as perfect as it could be. This is undoubtedly a perfect job

the author’s share percentage in respect of royalties does

opportunity for pro-active entrepreneurs in the informal and/

not go beyond 30% of the total sales of the book. However,

or SME sector. One such job opportunity includes but is not

with the availability of digital technology, the author can

limited to taking photographs and making of audio-visual

make use of numerous Online Dictionary Services (ODS)

productions at wedding, graduation and funeral ceremonies

that are available on Google to perform more or less 50%

for a fee. It is important to take note though, that access to

of the editorial work that the afore-said editors should have

the tool alone does however still not make a photographer

done, thus decreasing the pre-publication cost by 50% while

or a filmmaker.

increasing share percentage royalties by another 10% or more. The only relevant editing that would be required in this case is a content and context editing services. However, the books still have to find their audiences and the availability of a plethora of laymen online material might make it even more interesting for authors and those that want to be to be endorsed by reputable publishers even if online.

Music – In the analogue era of musical performances, live music performed by a full band with a mass of musical metal instruments was the order of the day when it comes to serious entertainment. Digitalization has changed all

indust

Access to the tool alone does however still not make a photographer or a filmmaker.

instruments from guitars to drums and other acoustic

Digital editing of photographs and audio-visual works can lead to a misrepresentation of facts.

ways than one. Despite the above-listed positive aspects of digitalization, nothing looks or sounds rational with only the positive characteristics of it being displayed, and digitalization is no exception. While it can have all the positive aspects of socio-economic development written all over it, there are obvious negative aspects to it too. The analyses thereof can be done for the same elements of digitalization as given above.

Photography – While digital photography has been hailed as one of the positive technological developments in the creative industry, especially with regards to the recording

that in a blink of an eye or has at least added a different

and/or documenting of events, it also comes with its

version of entertainment that is now also available. All that

own drawbacks in respect of copyright infringement and

one would sometimes see in today’s live performance is

possible misrepresentation of facts. For instance, digital

performers on stage with cordless mics and sound boxes

editing of photographs and audio-visual works can lead to

hidden somewhere in the audience to produce all-around

a misrepresentation of facts as the edited version would

sound quality performance. Further down the line of musical

definitely differ from the originally created one. In this

work performances, composers of musical works so

manner, the economic landscape in that sphere of creativity

performed used to rely on the honesty and ethical behaviour

would have been negatively affected as the revenues so

of music librarians at radio stations to fill in the correct and

generated through such illicit acts shall not go to the rightful

accurate information concerning the number of times that

creator. This, in turn, shall discourage creativity and derail

their music was featured on air during a radio broadcast. On

proper investment in one way or another.

the contrary, a specific computer programme captures all the information about a particular radio broadcast and all

Literary works – With every copy of a published book

that a radio programme presenter or disc jockey (DJ) should

leaving the publishing house onto the shelves of bookshops

do is print out the entire list of songs played and send same

locally and abroad, both the author and the publisher expects

to a collective management organisation (CMO) to pay out

to rake in revenue in respect of the number of copies sold.

the exact royalties for the exact number of appearances.

Unfortunately, this expectation has since distanced itself from

Thanks to digitalisation once again.

reality with the emergence of digital technology. In private and public education institutions, be it in primary, secondary

184

An analysis on whether digitalisation has an impact

or tertiary, students and educators alike are reproducing

on the economic environment of Namibia as a

original text books by means of digital technology as the

country and how it could contribute to, and/or uplift

two education Ministries continue to fall short on making

local communities

budgetary provisions for the acquisition of sufficient study

Digitalization has changed the economic landscapes

material year in year out. The practice does not only render

of countries that have adopted same in full-scale

itself illegal on the basis of copyright infringement, but it

implementation, with Namibia also among those countries.

also has an undoubted potential to discourage authors and

In Namibia, the adoption of full-scale digitalization has

publishers of these material to continue rendering the same

impacted the country’s economic environment in more

near fruitless service. In future, importation of the same study

Creative Industry Guide Namibia 2019/2020

material may also diminish as copyright owners of these

on their rights. We, as a country, should therefore not be

literary works may impose an importation ban on Namibia

surprised or say we were never warned when we are one day

as a country until such time that the country’s collective

slapped with massive legal suits of this nature.

management mechanisms are in place to curb unauthorised reproduction of their literary works.

In conclusion, those creative elements listed above namely; audio-visual works, photographic works, literary

Music, Audio-visual works and Cinematographic

works, musical works, and cinematographic works may

films – If there are any creative works that have been highly

seem minute in terms their respective contributions to the

affected by the emergence of digitalization, it is musical

national economic landscape in general and the creation

works, audio-visual works and cinematographic films. While

of employment in particular. However, when looked at

positive things can be said on the production side of things,

them from the point of view of how many young people are

the same can unfortunately not be said on the excessive

actually kept pre-occupied by the same activities taking

usage thereof. Digitalization has made it all possible for

place in those sectors, one would start appreciating their

one to reproduce, store, distribute and even sell copies of

existence. It is from that same point of view that Namibia as

musical works, audio-visual works and cinematographic

a country should take a proper audit of the impact, whether

films without the copyright owner’s prior consent. Under

positive or negative, that the emergence of digitalization has

normal circumstances, there must be legislative provisions

had on the economic landscape with specific references to

to enable the country to put in place, control mechanisms

the informal sector where the roots of any national economy

and institutional arrangements responsible for management

originate, so as to ensure that things are done right in that

of these works, promote same and discourage the afore-

sector from the word ‘go.’

said illicit activities. Namibia has one or two in the names of NASCAM for musical works and NAMRRO for literary, artistic and dramatic works, but whether the two institutions are actually doing what they were created to do, is a discussion for another day. Creative people who are serious about safeguarding their creativity so as to bring them recognition, fame and financial benefits would not hesitate to institute legal actions against anyone who infringes

Creative Industry Guide Namibia 2019/2020

185

Potential of the Creative Industries Seno Namwandi Seno Namwandi is an enthusiastic pioneer of Intellectual Property (IP) in Namibia. Seno is employed full time at the International University of Management (IUM) where she serves as the Director of Innovation and IP. She is also the youngest director on the board of the Business

The continuous evolution and sophistication of the creative industries have rendered it a significant contributor to the global economy. In 2016, the creative industries generated over 2 trillion USD to the US economy, accounting for approximately 11% of GDP. The creative industry provides immense growth opportunities for economies especially in developing countries, which are rich in cultural and traditional diversity.

However, the majority of African countries have not fully harnessed this industry

Intellectual Property Authority (BIPA)

and its potential to grow the economy, generate jobs and provide platforms to

in Namibia. Her recent achieve-

access global markets.

ment was being selected as a 2018 Mandela Washington Fellow. Seno

Small markets like Namibia are particularly challenged in realizing the potential

has a Masters degree in IP from

of the creative industry. The creative industry lags behind due to a lack of an

Africa University, Zimbabwe and

industrial agenda, financing, conducive legislative and regulatory frameworks,

other postgraduate certifications

and more importantly, the lack of esteem of the industry. These challenges pose

in IP. She obtained her Bachelor’s

an impediment to the successful realization of this industry, which will ultimately

degree in Molecular Biology and Biotechnology from Stellenbosch University, South Africa.

leave Africa disadvantaged in the ever-rising global intangible asset economy.

The global economy is increasingly based on intangible assets generated by digital technology and creative content. If the proof is in the pudding, then Nigeria has provided the necessary evidence that the creative industry should be prioritized.

In 2014, Nollywood and the associated music industry were documented to have contributed to Nigeria’s GDP in such a way that it catapulted Nigeria above South Africa as Africa’s largest economy.

The creation, development and dissemination of the products of Nollywood and the music industry have displayed simplistic innovation that has taken the country’s movie and music scene to the world. Nollywood thrived with the practice of releasing movies straight to television or DVD, whereas Hollywood thrives with the release of films on the big screen.

186

Creative Industry Guide Namibia 2019/2020

namwandi

It provides context to an the environment of innovation.

Nollywood and the Afrobeat industry have generated notable amounts of artistic content, created thousands of jobs, and enabled global trade for Nigeria. The contextualized industry has seen massive returns on investment for the country. The emergence of a booming Nollywood in a country that has been negatively labeled should serve as a beacon of hope to the rest of the continent. More than a beacon of hope, it should serve as an example of the technical do’s and don’ts of establishing and managing such an industry.

Underlying the success of Nigeria’s creative industry is the fact that the industry created infrastructure as it was being established. Often the misconception is that infrastructure, for instance legislation, trained professionals and financing, should be in place before an industry can emerge. Conversely, Nigeria established their industry with no said order and thereafter pulled in legislation, professionals and financing as they went along, thus creating an ecosystem around the film and music industry.

Ideally though, the creative industry does need supportive structures that enable the professionalization and operation of it.

Professionalization of the creative industry requires concerted input from various stakeholders. For instance, legal input that enables more transparent and orderly contracting practices such as remuneration.

For Namibia, the first focus should be the commercialization of the creative industry using Intellectual Property (IP), particularly Copyright.

Creative Industry Guide Namibia 2019/2020

187

IP is loosely defined as property that arises as a result

The potential of the creative industry in our country is

of intellectual activity or creative input, which enables

far reaching as it not only covers the core element of

commercializing of the content produced by the creative

entertainment and artistic works for various purposes,

industry.

it also has the potential to generate an entire innovative industry made of non-core creative employment.

IP is a set of legal instruments used to grant creators of works the ownership rights to make, sell, exploit their

For

instance,

online

distributors

of

content

will

work and exclude others from such activity if the content

predominantly work with digital technology to ensure the

is originally produced. It helps defend the right to a certain

content is accessed. A practical example is the creation

portion of the market share to exploit a work in order to

of streaming services based on software and coding that

enjoy a return on the investment of resources and time

enable consumers to watch movies.

spent in creating the work. The fundamental argument behind the use of IP as a means of commercializing work is

Herein lies the ability for the creative industries to grow

the fact that, as a legal asset of the creator, the creator has

economies. It provides wide reaching employment and more

the right to generate financial and/or other gain from that

importantly, content that can be traded across borders. The

work, similarly to how one would with rental from an owned

makings of the creative industry lie in our diverse cultural

physical property.

expressions. Therefore, the challenge is not that there is no content, but it is the organization of this content that needs

Copyright is the IP instrument that grants owners exclusive rights over originally created literary, musical and artistic works. It covers a wide range of professionals within the creative industry. Its reach spans from writers to musicians, painters, photographers, performers and the general artist community.

Copyright and related rights govern the rights of creators, performers, broadcasters, and at times distributors.

Copyright grants owners the lengthiest duration of protection; rights granted are held for the lifetime of the creator or author plus a minimum of 50 years after the creator or author’s death.

188

Creative Industry Guide Namibia 2019/2020

better management.

The creative industry lags behind due to a lack of an industrial agenda, lack of financing, conducive legislative and regulatory frameworks.

- Seno Namwandi

listings

LISTINGS 191 ORGANISATIONS 191 CULTURAL CENTRES 191 EDUCATION INSTITUTES 191 NETWORK & ASSOCIATIONS 192 MARKETS, EVENTS & FESTIVALS 192 OTHER CREATIVE SERVICES 192 MODELING AGENCIES 193 MAKE UP ARTISTS 193 TATOO ARTISTS 193 HUMAN RESOURCES 193 NAIL ARTISTS 193 ONLINE VISUAL ARTS LIBRARY 193 INTELLECTUAL PROPERTY PROTECTION 193 FUNDING AND RESOURCES 195 RESEARCH

Organisations Directorate Of Arts- Ministry Of Education, Arts & Culture Contact Person: Ervast Mtota

 +264 61 293 3544

+264 61 293 3543

 Ervast.Mtota@moe.gov.na emtota@gmail.com  Luther Street, Government Office Park Windhoek, Namibia  www.moe.gov.na/m_dir_ viewdirectorate. php?id=22&directorate= Directorate  Directorate of Arts, Ministry of Education, Arts and Culture, Namibia

CULTURE CENTRES American Cultural centre

The American Cultural Center works closely with other sections of the American Mission and with many Namibian organizations to foster bilateral understanding.

 +264 61 229 80  Sanlam Centre Independence Avenue Windhoek, Namibia  www.na.usembassy.gov/educationculture/american-cultural-center/  namibia.usembassy  @USEmbNamibia  usembnamibia

Franco Namibian Cultural Centre

The FNCC aims to promote and support Namibian artists and cultural projects by offering our know-how, resources and equipment.

Contact Person: Rojeanne Niove

 +264 61 387 330  reception@fncc.org.na  118 Robert Mugabe Avenue Windhoek, Namibia  www.fncc.org.na  FNCCNAM

Goethe-Institut Namibia Cultural Relations.

Contact Person: Daniel Stoevesandt

 +264 61 225 700

 info.windhoek@goethe.de daniel.stoevesandt@goethe.de  1-5 Fidel Castro Street Windhoek, Namibia  www.goethe.de/namibia  GoetheInstitutNamibia

Namibia University of Science and Technology NQA: Bachelors, Postgraduate, Masters, Doctorate

 +264 61 207 9111  13 Storch Street, Windhoek Windhoek, Namibia

 goetheinstitut_namibia

 www.nust.na

John Muafangejo Art Centre

University of Namibia

Art, Curation, Education, Performance.

Contact Person: Nashilongweshipwe Mushaandja

 +264 61 260 014  jacquesm@jmac-art-namibia.org jacquesmushaandja@gmail.com

NQA: Diploma, Bachelors, Masters: Art for Advertising, Ceramics Studies, Creative Expression Drama Performance and Production, Fashion Studies, Library and Information, Science, Media Studies, Music, Records and Archives Management, Textiles Studies, Tourism Management and Heritage Studies, Visual Arts and Visual Centre

 +264 61 206 3813

 Katutura Community Art Centre, Leonard Auala Street, Katutura Old Complex Windhoek, Namibia

 ipeter@unam.na

 John Muafangejo Art Centre

 www.unam.edu.na

 Windhoek, Namibia

 @jmac_art

EDUCATION INSTITUTES College of the Arts

NQA: Certificate: Dance, Fashion, Music, Radio production, Sound technology, New medai design, Television production, Radio production, Theatre, Potetry and Visual Arts

NETWORK & ASSOCIATIONS AFOKAA, Arts Foundation of Kavango & Artists Association Contact Person: Edward Diyeve Mukoya

 +264 81 337 5060

 +264 61 374 100

 afokaa@hotmail.co.uk

 Town Campus, 1 Fidel Castro Street, Windhoek, Namibia Katatura Community Art Centre, Leonard Auala Street, Katatura, Windhoek, Namibia

 Afokaa

Africavenir Windhoek

Promotion of African Renaissance via arts.

Contact Person: Hans-Christian Mahnke

Institute of Information Technology

NQA: Diploma, Certificate: Visual Media and Desktop Publishing, ICT, Animation and Web Design

 +264 85 563 0949  c.mahnke@africavenir.org

 +264 61 253 141

 Laurie Stevens Nr. 6 Windhoek, Namibia

 info@iit.com.na

 www.africavenir.org

 Burg Street, Luxury Hill, Klein Windhoek,Windhoek, Namibia

 Africavenir Windhoek

 www.iit.com.na

 @HCMahnke

Fashion Council of Namibia

Member-based organization created to promote competitive and accessible intervention programs that will enable the fashion value chain to achieve sustainable businesses and partnerships both locally and international.  fashioncouncilofnamibia@gmail.com  FashionCouncilofNamibia

Creative Industry Guide Namibia 2019/2020

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NAINA: Namibia Arts Initiative Network in Africa HIV/AIDS related Art Projects.

Contact Person: Aina Shilongo

 +264 81 235 3668 +264 81 313 1808

 shilongoaina@gmail.com

MARKETS, EVENTS & FESTIVALS City Events

Monthly lifestyle market for creative industry products in Windhoek and Swakopmund.  www.windhoekcitymarket.com  Namibiacityevents

Inspiration Tables

Annual prmeium handcraft and service expo.  info@inspirationtables.com  @Inspirationtables

Klara’s Market Place

Speciality eatery and market retail space for locally manufactured lifestyle products.

 +264 61 247 095  77 Independence Avenue, Windhoek Windhoek, Namibia  Klarasmarket

 kevin.perestrelo@gmail.com

 tentevolpresente@gmail.com duvenhage.d@gmail.com

 Windhoek, Namibia

 Windhoek, Namibia

 @kevinperestrelo  @kehv.n

The Green Market / Bio Markt

My Big Day Namibia Weddings

Weekly market for fresh produce and handicraft.

Contact Person: Marike de Jager

 greenmarketwdh@gmail.com

 +264 81 146 1212

 3 Dr. Kenneth David Kaunda Street, Klein Windhoek Windhoek, Namibia

 hello@mybigday.com.na marike@mybigday.com.na  Windhoek, Namibia

 Green Market Windhoek

The Shed

Quarterly themed market for handcraft.

Contact Person: Alexandra Werner  the.shed.namibia@gmail.com  The Shed

The Windhoek Jazz Festival Contact Person: Lydia Amutenya

 +264 61 290 2365

+264 61 290 2546

 www.namartsfair.com

Windhoek Fashion Week

 WindhoekFashionWeek

OTHER CREATIVE SERVICES Adriano Entertainment CC Entertainment.

Contact Person: Adriano Visagie

 +264 81 452 4712

Contact Person: Gudrun Murray

 Windhoek, Namibia

 +264 64 570 230

 officialadrianovisagie

 omarte@rocketmail.com

 @adriano.visagie

 Omaruruartisttrail

 Adriano Visagie

Tente Vol Presente

Artthrob

Creative Industry Guide Namibia 2019/2020

 karen@kcpowell.com  Windhoek, Namibia

Wamboes Be Like

 adrianovisagie9@gmail.com avisagie@fnbnamibia.com.na

Contact Person: Danelle Duvenhage

 +264 81 124 0241

 Windhoek, Namibia

Omaruru Artist Trail

An annual three-day event for showcasing and selling hand-crafted products.

Creativity/Personal Growth Workshops and Online Programs.

 www.kcpowell.com

 www.windhoekfashionweek.com

 namartsfair@gmail.com

Pathways Consulting cc

 jazz@windhoekcc.org.na

Namibia Arts Fair

 +264 81 211 9600

 MyBigDayNamibia  @twitterhandle  @mybigday_namibia  mybigdaynamibia

Contact Person: Karen Powell

Annual fashion week platform.

Contact Person: Samuel Matengu

Marketing Namibian Wedding Service Providers.

 +264 81 170 0458

 @klarasmarket

Art is life, but what happens when living from your art is hard? The Namibia Arts Fair is a annual event that focuses on connecting artists with an audience to exhibit and sell their work. The event will reinforce the value and importance of Namibian Artists in the community.

192

 +264 81 213 2578

Curation photography and art direction.

Contact Person: Kevin Perestrelo

Blogging, photography, memes, vlogs, vines, comedy short clips, social media campaigns.

Contact Person: Stone Kapolo

 +264 85 522 2237  info@wamboesbelike.com ckapolo@gmail.com  1428, Gladiola Street Windhoek, Namibia  www.wamboesbelike.com  wamboesbelike  @wamboesbelike  @wamboesbelike  beliketv

MODELING AGENCIES Ace Models Namibia

Model casting and management agency.

 +264 81 128 5339  Windhoek, Namibia  www.acemodels.co.za

 ACE Models Namibia

 Windhoek, Namibia

ubuntu Models

 naillady.net

Model casting agency.

 +264 81 658 0324  ubuntumodellingagency@gmail.com veristeve@gmail.com  Windhoek, Namibia  @ubuntu_models

MAKE UP ARTISTS Judith ‘Miss Jey’ Mwinga Contact Person: Judith ‘Miss Jey’ Mwinga

 +264 81 726 0202  Windhoek, Namibia

TATOO ARTISTS Plaiven Muanyangapo Contact Person: Plaiven Muanyangapo

 +264 81 339 6661  plaiven89@gmail.com

HUMAN RESOURCES

ONLINE VISUAL ARTS LIBRARY Braveart Website

A first for Namibia Image Library website of Namibia. A one stop platform where local art, photographs and designs can be set up to be sold/bought.

Contact Person: Susan Nel & Nelett Loubser

 +264 81 230 4847  info@braveart.com.na  www.braveart.com.na

INTELECTUAL PROPERTY PROTECTION Business & Intellectual Property Authority of Namibia (BIPA) For registration and protection of your intellectual property through copyright, trademarks, patents etc.

 +264 61 299 4400  pr@bipa.na  Windhoek, Namibia

HR Line

HR Line is Social Enterprise, our services include Human Resources Career Development & Coaching for job-seekers, the workforce, entrepreneurs & emerging organisations.

 www.bipa.na

Contact Person: Carmen Marisa Lemos

FUNDING & RESOURCES

 +264 81 280 6759

Africa Centre

 info@hr-line.com  www.hr-line.com

NAIL ARTISTS T&Z Trading CC

We train & supply professional nail artists.

Contact Person: Tanya Gunning

 +264 81 433 0866  tanya@naillady.net

The Africa Centre artists-in-residency programme has been designed to support and celebrate the achievements of artists from Africa who are provocative, innovative and highly engaged, both with social issues and their art froms. AIR works in partnership with residencies throughout the world to identify African artisits and fund their airfare to the residency.  www.africacentre.net

African Entrepreneurship Award

Art Moves Africa

An international non-profit organisation that aims to facilitate cultural and artistic exchanges within the African content.  www.artmovesafrica.org

Arterial Network

A dynamic Pan-Africa, civil-society network of artists, cultural activists, entrepreneurs, enterprises, NGO’s, institutions and donors active in Africa’s creative and cultural sectors.  www.arterialnetwork.org

Bokamoso Entrepreneurial Centre Business incubation and resource development centre for SME’s.

 +264 61 290 3611

+264 81 361 6189

 Hans Dietrich Genscher Street, Katutura, Windhoek, Namibia

Commonwealth Writers

The cultural initiative of the Commonwealth Foundation. It was set up in 2012 to inspire and connect writers and storytellers across the world. We believe that well-told stories can help people make sense of events, engage with others and take action to bring about change.  www.commonwealthwriters.org

CoWork

Member-based association providing affordable collective office space in Windhoek.  cowork.whk@gmail.com  Windhoek Centrail Train Station Goods Yard Windhoek, Namibia  CoWork

Fablab Namibia

the FABLab Design and Technology Centre is the first advanced manufacturing, prototyping and design lab in Namibia and the largest FABlab currently within Africa.

 +264 61 207 2390  Hayddn Street, Windhoek Windhoek, Namibia  www.fablab.nust.na  Fablab.namibia  @fablab_namibia

 www.africanentrepreneurshipaward. com

Creative Industry Guide Namibia 2019/2020

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Goethe Coproduction Fund

International coproductions epitomize a form of artistic collaboration involving partnership and dialogue. With a view to encouraging new collaborative working processes and innovative productions involving international cultural exchange, the Goethe-Institut set up a new coproduction fund in the summer of 2016 to promote new working networks and approaches within a global context and to explore new forms of intercultural collaboration.  www.goethe.de/ikf

Goethe Stage

Funding for local art projects.

 +264 61 225 700  info.windhoek@goethe.de  1-5 Fidel Castro Street Windhoek, Namibia  www.goethe.de/namibia

INSTITUT FÜR AUSLANDSBEZIEHUNGENFINE ARTS DEPARTMENT

Supports projects in the fields of contemporary art, architecture, design, photography and media art. The focus is on the exchange and substantive cooperation between German actors and cultural practitioners from transition and developing countries.  www.ifa.de/en.html

INTERNATIONAL FUND FOR CULTURAL DIVERSITY, UNESCO

Contact Person: Esther MoombolahGoagoses

 490 Platinum Street Prosperita Windhoek, Namibia

 +264 61 276 800

 www.ncrst.na

 goagoses@hotmail.com

NODE CENTER

 Windhoek, Namibia

 www.nodecenter.org

MOBILE LAB

The Mobile Lab is a hub for research, knowledge and innovation within mobile technology and applications for the future of Namibia. It offers a platform for students and professionals from industry, government and academia to engage in mobile entrepreneurship by developing localised mobile applications that respond to local needs.  nbii.nust.na

NAMIBIA BUSINESS INNOVATION INSTITUTE

National leader in research, entrepreneurship and innovation, developing insights from idea to marketplace. Innovation Marketplace, Entrepreneurship and Incubation, Research and Development, aand the RLabs Namibia project.

 +264 61 207 288  nbii@nust.na  The Innovation Village 1 – 3 Glück StreetWindhoek West Windhoek Windhoek, Namibia  nbii.nust.na

OPPORTUNITIES FOR AFRICANS

Online information portal connecting Africans to life changing funding, exchange, education, job and volunteering opportunities.  www.opportunitiesforafricans.com

RED BULL MUSIC ACADEMY

The Red Bull Music Academy is a worldtraveling series of music workshops and festivals: a platform for those who make a difference in today’s musical landscape  www.redbullmusicacademy.com

SWISS ARTS COUNCIL / PROHELVETIA Supports and disseminates Swiss arts and culture in Southern Africa. We promote cultural exchange, develop and nurture longterm partnerships and support residencies.  prohelvetia.org.za/en

THE AFRICAN ARTS TRUST

The African Arts Trust supports the visual arts, with an emphasis on grass roots organisations that support professional practicing artists trying to make a livelihood in the visual arts.  www.theafricanartstrust.org

The International Fund for Cultural Diversity is a means to support the implementation of the Convention, by fostering the emergence of a dynamic cultural sector in developing countries.

Namibia Film Commission (NFC)

 en.unesco.org/creativity/ifcd

Contact Person: Hertha Katjivena

Intangible Cultural Heritage Fund essentially provides assistance to States Parties in their efforts for safeguarding.

JANE FARVER CURATORIAL RESIDENCY AT ISCP

 +264 61 381 900

 https://ich.unesco.org

 info@nfc.na

THE INTERNATIONAL FUND FOR THE PROMOTION OF CULTURE, UNESCO

Fully-funded three-month residency for a curator from the Global South.  iscp-nyc.org

Kickstarter

Kickstarter helps artists, musicians, filmmakers, designers, and other creators find the resources and support they need to make their ideas a reality.  www.kickstarter.com

MINISTRY OF EDUCATION, ARTS AND CULTURE. DIRECTORATE OF HERITAGE PROGRAMMES AND CULTURAL PROGRAMMES

We identify, develop and promote the culture and heritage of Namibians for nation building, unity in diversity, employment creation and pride in our national identity.

The NFC regulates all film business related activities, from issuing permits, commissioning productions to skills development.

 17 Newton and Feld Street, Ausspannplatz Windhoek, Namibia  www.nfc.na    

NamibiaFilmCommission @Namibia_F_C namibiafilmcommission NamibiaFilmCommission

NATIONAL COMMISSION FOR RESEARCH, SCIENCE AND TECHNOLOGY

Fostering Excellence through Knowledge and Innovation.

 +264 61 431 7000  info@ncrst.na

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Node Center is an art organization focused on research and education in contemporary art.

Creative Industry Guide Namibia 2019/2020

THE INTANGIBLE CULTURAL HERITAGE FUND

The International Fund for the Promotion of Culture (IFPC) in order to give ‘greater prominence to culture in the development of individuals and societies and of strengthening international cultural cooperation’, as well as to provide ‘assistance for artistic creation and cultural activities’.  en.unesco.org/ifpc

THE NATIONAL ARTS COUNCIL OF NAMIBIA Bursaries and grants to artists.

Contact Person: Gretta Gaspar

 +264 61 293 33 63  artscouncilnamibia@gmail.com

 Room 018Education BuildingGovernment Office Park Luther Street Windhoek

Windhoek, Namibia

 www.nacn.org  National Arts Council of Namibia

 +264 81 122 1287  fly@brvbrd.com  No 4 Wells Street, Windhoek West, Windhoek, Namibia  www.brvbrd.com

THE PRINCE CLAUS FUND’S MOBILITY FUND Supports the cross-cultural exchange of artists and cultural practitioners.

 +264 61 431 7000

Not listed? Visit our website and get listed online

 info@saisprogramme.org

www.creativeindustryguide.com

 princeclausfund.org

THE SOUTHERN AFRICA INNOVATION SUPPORT(SAIS)

 490 Platinum Street Prosperita Windhoek, Namibia  www.saisprogramme.org

THE U.S. AMBASSADORS FUND FOR CULTURAL PRESERVATION (AFCP) Supports the preservation of cultural sites, cultural objects, and forms of traditional cultural expression in more than 100 developing countries around the world.  eca.state.gov

VISA FOR MUSIC

International music festival  visaformusic.com

RESEARCH BraveBird Research

BraveBird is a collective that uses research to empower the creative industry. Our offering includes research, consulting and production management services.

Contact Person: Joan Biwa

Dololo Operations (Pty) Ltd

Dololo is a privately owned Nambian company that provides services to corporate businesses, institutions and forwad looking organisations in the form of Internal Innovation Sessions, Coaching, Team Building and Events. The team also provides entrepreneurs with corworking space and business development, training and coaching.

Contact Person: Tim Wucher

 +264 81 220 3348  inspire@dololo.io  118 Robert Mugabe Avenue, Windhoek, Namibia  www.dololo.io

If every one of us embraces content creation on a sensible level, we can share and grow our understanding of the creative industry to the benefit of all.

- Karl Terblanche

Fortune favours the brave It’s about risking everything for an idea.

Thinking beyond the crowded blue sky. It’s about recruiting the brightest, attracting the best. Being brave isn’t easy, but it’s worth it.

To hook up with Namibia’s most-awarded Advertising Agency, get in touch.

info@advantage.com.na | +264 61 250 277 | PO BOX 21593 No. 1 | Axali Doeseb St. | Windhoek West | Windhoek, Namibia www.advantage.com.na

contextualising creative economy through featured industry insights from local experts.

It includes a comprehensive listing of creative companies, organizations and professionals, ranging from ad(people) and architects to performers and creative institutions.

The guide is an invaluable resource, showcasing the contribution and direction that creative vision is taking in Namibia from across all genres. The Creative Industry Guide Namibia is a Joe Vision Production project, in collaboration with the National Arts Council of Namibia.

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The Creative Industry Guide is a first for Namibia,