SACIA Spotlight - Autumn 2021

BRINGING YOU THE LATEST COMMUNICATIONS INDUSTRIES NEWS

SP

AUTUMN 2021

TLIGHT 19-21 OCTOBER 2021

Save the date!

SACIA TO HOST FIAT/IFTA WORLD CONFERENCE 2021 & 2022 The South African Communications Industries Association (SACIA) has announced that it has won the bid to host the FIAT/IFTA World Conferences for 2021 and 2022. This annual World Conference brings together archivists, decision makers, media managers, vendors, strategists, researchers, technicians, materials and service providers involved in television archives around the world, as well as those that keep audio-visual collections, to present, showcase, listen, discuss, and exchange ideas.

For the very first time, this high-profile event will take place in Africa, in October 2021. A compelling virtual 3-day conference schedule will feature respected keynote speakers, exciting research papers and abstracts as well as in-depth workshops and meetings and discussions around audio-visual archive issues.

SACIA made the proposal to FIAT/IFTA early in 2019 but as a result of the international travel restrictions imposed during the COVID-19 pandemic, had to continue discussions with the FIAT/IFTA Executive online, rather than presenting in person. Thankfully, the hard work of the past 12 months has culminated in the awarding of the bid to SACIA for the next two conferences.

The 2021 conference will be a virtual conference running from the 19-21 October 2021 (Tuesday to Thursday) and the subsequent iteration will be an in-person event held at Spier Wine

Estate from 17 to 20 October 2022, (Monday to Thursday), circumstances permitting. The FIAT/ IFTA World Conference is known for combining a vibrant conference programme with an excellent atmosphere – so this will be not only a learning opportunity but also a welcoming and professional networking platform.

audio-visual industry in southern Africa and strengthens the Association's standing in both the local and international markets.

SA AV archives in a global context Hosting the Conference in the Western Cape firmly positions South African audio-visual archives in a global context. For many local stakeholders the 2021 event offers the first opportunity to attend. “This will allow us to transfer knowledge and to ‘e-network’ and will hopefully mark the beginning of a new chapter for FIAT/IFTA and South Africa," says Ilse Assmann, South African-based Media Information and Broadcast Archives Consultant, and former IASA (International Association for Sound and Audiovisual Archivists) President, a sister organisation of FIAT/IFTA

Delivering a world-class conference “This event will profile the history and culture of the South African film and television industry, as well as the work done by archivists who have preserved our audio-visual material so that it can be shared by future generations, “ says Kevan. “Of course, it will also lead to increased commercial opportunities by acknowledging the value of audio-visual archive material and improving the understanding of both intellectual property rights and the obligations that apply when producers incorporate archive footage into current content. We are very pleased to have won the bid and believe that it will be beneficial for the local television archive sector. Now we are planning to ensure we deliver the world-class conferences we know we are capable of.”

Kevan Jones, executive Director of SACIA, served on the organising committee of the 2013 FIAT/IFTA conference hosted in Dubai whilst Ilse organised the IASA conference hosted in Cape Town; so the duo has a hardearned track-record supporting their ability to deliver a great conference. SACIA’s bid was supported by the SA National Convention Bureau, whose generous sponsorship has also enabled the event to go ahead.

“As a key player in the South African media landscape, SACIA was able to submit a solid and very well-supported bid. The fact that Ilse Assmann and Kevan Jones are involved, two people with whom we’ve collaborated well in the past, gives an extra boost of trust. For the local as well as the international audience, we look forward to making our first World Conference in Africa an unforgettable one” says Brecht Declercq, president of FIAT/IFTA.•

The hosting of the World Conference also reinforces SACIA’s position as the voice of the | 1

MEET THE NEW SACIA BOARD During the height of the COVID-19 pandemic in May 2020, SACIA members were busy voting to elect a new SACIA board via the online Simply Voting system.

162 (52.4%) of 309 eligible voters participated in electing Sue Gannon, Tinus Smit, Sharif Baker Roman Magis and Uwe Beckman to the Board, with Tinus fulfilling the role of Vice Chair and Sharif voted in as Chairman of the Board.

Sharif is also Chairman for the Technical Production Services Association, a Special Interest Group under SACIA and Tinus heads up the Pro Audio Council. Both Chairman and Vice Chair have been elected to the SACIA Board in the past and so take on their respective roles with the advantage of having been involved with the Association at Board level for some years already.

Additional members Prof. Janine Lewis, Ramadan Suleman and Prof.

Aaron Tshidzumba were co-opted to the board due to their expertise in areas of relevance. Part of the SACIA Board’s mandate is to continuously engage with role-players who can advise on, and further the aims of, the Association.

Sharif Baker

Tinus Smit

Sue Gannon

Prof. Aaron Tshidzumba

Kevan Jones Executive Director

2020 has seen SACIA’s Special Interest Groups affected by the pandemic to various, and in some cases, devastating levels. 2021 will no doubt bring further challenges as the Communications Industries start their recovery. SACIA Chairman, Sharif Baker is nevertheless optimistic about the Association’s ability to deliver value during this time of crisis.

“As a member of the SACIA family I am committed to the ethos of excellence our association is built on, and stands for,” he says. As the incoming Chairperson, I believe that this foundation of excellence will play a fundamental role in shaping the direction we take on our journey through these terrible times. Professionalism will always be fundamental to overcoming adversity and our promotion of this will be vital in moving our sector forward through this pandemic. Taking on this role in these trying times is challenging to say the least, but rewarding too, as we aspire to grow our sector.”

The new Board comprises a wide range of experience and specialisation.

We wish them all the best for their two-year tenure as they steer SACIA through these interesting times. •

Uwe Beckman

Prof. Janine Lewis

Ramadan Suleman

Roman Magis

Event Safety Council’s Re-Opening Guidelines in play While most industries suffered negative consequences as a result of the global COVID-19 pandemic, the events industry has been devastated by the lock-down and its economic impact.

As other industries have resumed business activities, event organisers, venues and suppliers to the exhibition and events industry are still hamstrung by capped capacities and unclear regulations in their sectors.

The social nature of events dictates the importance of providing and enforcing prevention and control measures against exposure to the virus, and the Event Safety Council (ESC), a special interest council within SACIA in collaboration with the South African Event Council (SAEC), took the lead in preparing Re-Opening Guidelines for the South African Events industry. These stringent protocols

assist the industry in resuming activities safely, quickly and in accordance with the overall national strategies and policies.

The ESC drew on its affiliation with US-based Event Safety Alliance (ESA) and collaborated with other similar international players in putting the Re-Opening Guidelines together; ensuring that international best practice is embedded throughout the standards.

The back-to-work Re-Opening Guidelines were officially released to the local events industry on the 17th of June and have been successfully applied to subsequent events.

Safety processes outlined The ESC Guidelines define a 5-tier event categorisation (Very Low Risk to Very High Risk) with a specific set of safety guidelines per category. Provision is made for specialist compliance staff appointments to manage the

"...including a COVID-19 mitigation plan as an extension of existing event planning mechanisms is easily achievable.”

Mike Lord, Interim Chairperson for the Event Safety Council

2|

safety and prevention of exposure to COVID-19 at events. Safety processes are outlined across the areas of Communication, Sanitisation, Cleaning and Hygiene, Venue requirements, Attendee Management, Event Management, Staff Health Management and Transportation.

"The event industry already carries out comprehensive risk assessment, safety checks and logistical planning for every event, so including a COVID-19 mitigation plan as an extension of existing event planning mechanisms is easily achievable,” says Mike Lord, Interim Chairperson for the Event Safety Council. •

The back-to-work Re-Opening Guidelines were officially released to the local events industry on the 17th of June, and is available as a download from the SACIA website.

Department of Labour deems film and television freelancers to be employees A draft notice of intention issued in December 2019 by Minister of Employment and Labour, Min Thembalani Nxesi to deem “persons in the Film and Television sector” to be employees, impacts several of SACIA’s Special Interest Groups.

These workers would also be covered by the National Minimum Wage Act 9 of 2108 which currently sets the minimum rate at R20 per hour although the exemptions from paying minimum wage rates do not apply to the Film and Television sector.

"The changes are not yet fully outlined, so we urge you to familiarise yourself with what this amendment would mean for you as a freelancer as well as for the Communications Industry sector you work within" says SACIA's executive director, Kevan Jones.

"However, freelancers will continue to declare income on the IRP5 using the independent contractor code (3616) which disallows the protection of section 23(m) limiting deductible expenses for employees. They are also exempt from making UIF contributions meaning that out-of-work individuals will still not be able to claim from UIF. Whilst employees have the right to establish and join trade unions, it seems that that this right is not extended to freelancers UNLESS a specific employeremployee relationship has been established," explains Jones.

Increased employment protection The changes were sparked by calls by the SA Guild of Actors (SAGA) for increased employment protection of actors in South Africa. The proposed change will afford Film and Television freelancers Workman’s compensation rights via the Compensation for Occupational Injuries and Diseases Act 130 of 1993 as well as sick leave, maternity and annual leave benefits, severance pay and recourse through the CCMA.

Clarification pending Employers will need to enter into carefully structured contracts with these employees and will be responsible for contributions to

the Department of Labour’s Compensation fund at an as-yet-undetermined rate. "If the freelancer is an employee, with whom does the responsibility of employer lie and what are the unintended consequences for these employers?" says Jones. "In the Communications Industries, crewing agencies acting as intermediaries could also be seen as potential employers, a shift which would fundamentally change the nature of their business and their relationship with their freelancer base." •

PRO-AUDIO COUNCIL UP AND RUNNING SACIA’s Pro-Audio Sub-Committee was established in 2019 to identify stakeholders and invite nominations towards establishing a Pro-Audio Council. Although the process was hindered by the fluctuating pandemic restrictions, the first official Pro-Audio Council meeting finally took place early in September 2020.

The new Council elected the Founding and Vice-Chair as the first exercising of their powers.

The Founding Council is comprised of Tinus Smit (Founding Chair), Keith Davies (Vice-Chair), Mark Malherbe, Cristo Hattingh, Quinten Davis, Grant Harris, Tara Senior, JP Chetty and Kevan Jones (SACIA – executive director).

The primary focus of SACIA’s Pro-Audio Council is the development of a simple, inclusive, yet high-level professional designation for audio professionals. It is proposed that individuals applying for the new designation will require a Diploma in Audio Technology as well as 8 years of relevant work experience in the pro-audio field.

SACIA designations comprise three tiers, that of Associate, Practitioner and Professional levels,

each with different requirements in terms of underlying knowledge and relevant work experience.

Within SACIA, many Audio Professionals fall under the TPSA (Technical Production Services Association) or BIG (Broadcast Industry Group) and most can be accommodated under the respective TLE or BCT Associate and Practitioner levels. However, there is a gap in the pro-audio realm at the top-tier designation of ‘Certified Professional'.

An Audio Professional designation by 2022 “We're working on a designation equivalent to that of the TLE & BCT Professional designations but tailored to the requirements of an Audio Professional. We encountered a similar scenario while developing the professional designation

for the SASC, except in our case, we have to accommodate a wider range of disciplines ranging from the Audio Professional out in the field, on stage as well as in the studio, all requiring different skills, but encompassing the same underlying fundamentals,” says Smit.

“We need to develop a framework and assessment criteria before we present our proposed designation to SAQA for approval.

It will take some time and will require input from as many audio disciplines as possible. We anticipate a time frame of around 18 months to complete the process, considering the obstacles the pandemic continues to throw in the way of our progress. Nonetheless, this is our goal and we confidently seek to have Audio Professional covered with a professional designation by 2022!” • | 3

Recomendations for

BUILDING CAPACITY in the audio visual sector

Anyone working in the Audio-Visual sector will have grappled with the dilemma of insufficiently trained industry entrants and the lack of established career support opportunities for established practitioners.

The demands of the 4th Industrial Revolution and the pace at which the Audio-Visual/Film sector is evolving, make it imperative that individuals enter the workplace with relevant training on up-to-date equipment and technologies.

Continuing professional development opportunities must also be available to keep their skills aligned with the rapid technological growth that distinguishes this sector.

After the Department of Arts and Culture (DAC) hosted the South African Film Summit in 2019 where amongst other topics, Empowerment, lnclusivity & Capacity Building was a focus, the Film/Audio-Visual Reference Group was established.

This Group is a tactical structure, created as much for on-going consultation as for the review and monitoring of the content and delivery methods used to fulfil the capacity-building objectives identified at the Summit. Kevan Jones and Uwe Beckmann represent SACIA members in this group.

https://www.youtube.com/ watch?v=CoTqv3XAw1Y

RECOMMENDATIONS There is a lack of properly structured accredited short courses for those already active in the industry to embark on a programme of continuing professional development. Training at this level is often marked by insufficiently qualified teachers and therefore misaligned with standards and industry best practice.

The Task Team developed a set of practical recommendations on how best to support mentorship, film training, technical skills, film literacy and appreciation building capacity in the Film and Audio-Visual space.

THE TEAM’S RESEARCH AND CONSULTATION ACROSS ALL EDUCATION AND CAREER PATH STAGES HIGHLIGHTED THE FOLLOWING ISSUES NATIONAL CURRICULUM – GRADE R – 12 Whilst school leavers who complete their studies as a National Certificate Vocational [NC(V)] easily articulate onto an alternative path to study Film and Television/Audio-Visual at an Institution of Higher Learning; those following an Academic or Technical path are not necessarily exposed to the potential of a career in these fields.

HIGHER EDUCATION Although around 50 of the country's universities, colleges and institutes offer a degree or diploma in the Audio-Visual sector, socio-economic factors result in a very high dropout rate across all courses, including these. In addition, Audio-Visual courses often conduct practices on outdated equipment and do not offer sufficient Work-Integrated learning exposure to ready graduates for smooth integration into our work environment.

VOCATIONAL TRAINING Shorter certificate/ diploma courses with a WorkIntegrated Learning component are available through the Sector Education Training Authority, 4|

but there is little control over the assessment or evaluation of students and learning progress is uneven and unpredictable.

The NFVF “State of Skills” report highlighted a perceived gap between what the institutions deliver in terms of work readiness and what employers expect, with 89% of Institutions believing that they prepare graduates adequately for the work environment, and 72% of employers believing that they do not.

Academics themselves are often out of touch with the latest trends, equipment and processes, highlighting the poor communication between institutions and employers.

SMALL & MEDIUM ENTERPRISES The industry is dominated by smaller businesses and many stakeholders work on a freelance basis. While Higher Learning courses may have prepared these individuals on a creative and technical level, the lack of an entrepreneurial and business skills foundation negatively impacts industry growth.

1

Establish Film Clubs at schools, and develop a career advice system for scholars interested in a career in the film, television and audio-visual industry.

2

Embed media and film literacy within a broader arts curriculum (Grade 1 –12).

3

Explore and promote collaboration and knowledgesharing between local and international training providers, incorporating best-practice and training methods into local training programmes. Enhance the standard of training through peer engagement.

4

Review and expand curricula in line with the fourth industrial revolution (monetisation of content, digital rights management and intellectual property management).

5

Develop an incubator programme that will fasttrack the development of small business’s active in the AV industry (focus on business, marketing and financial skills).

6

Deliver common Quality Assessment on vocational training programmes through a Sector Education Training Authority.

7

Encourage academics and industry professionals to earn and maintain a professional designation in their field of specialisation (audio; camera; lighting; acting; editing; animation; production)

8

Develop new professional designations for craft skills (scriptwriting, sets; hair, wardrobe & make‐up).

9

Encourage Universities and TVET colleges to develop short courses aimed at industry professionals (scarce and critical skills in our industry).

10

Mentor the next generation of film and video professionals. Reward industry experts acting as mentors with CPD credits to maintain a professional designation.

11

Employers to provide work‐intergrated learning opportunities for students, as well as internships for young graduates.

12

Validate professional development courses against industry standards and best‐practice, and encourage commitment to continuing professional development.

13

Build the capacity of professional bodies to assess and award professional designations.

14

Implement a “Train the Trainer” programme to empower industry professionals and facilitate mentorship and skills transfer.

15

SETA’s to ensure funding is available for freelancers to earn and maintain professional designations, and participate in CPD training.

16

Employers to submit a Workplace Skills Plan to their relevant SETA to ensure funding for employed individuals to earn and maintain a professional designation and attend CPD training.

17

Align existing funding models (e.g. DTI Film and Television Production Incentive Programme) to support capacity building by requiring heads of departments and key personnel to hold a SAQA‐recognised professional designation – with mentorship and skills transfer included as a requirement for funding.

18

Reduce the cost of data required for all aspects of content creation, management and distribution.

CONCLUSION These recommendations will allow us to formally recognise the skill and competence of industry professionals working in our industry, encourage expert practitioners to share their knowledge with students, graduates and young industry professionals, and inspire the next generation of filmmakers and storytellers.

The recommendations build on existing capacity and funding structures, are aligned with established SAQA policies on training and skills development in South Africa and can be implemented in a relatively short period. •

Eswatini hosts CAPACITY WORKSHOP for broadcasting The communications regulator in Eswatini, Eswatini Communications Commission (ESCCOM), hosted two technical workshops in a bid to upskill the country’s broadcasters and to ensure that they remain relevant in the global broadcasting sector. These trainings were made possible through ESCCOM’s partnership with the South African Communications Industries Association (SACIA).

The first workshop was facilitated by Neil Garner, from Training for TV, which is a UK based training operation that specialises in technical, operation and creative broadcasting training. It was held in Mbabane over 5 days, just before the small kingdom went into a national lockdown induced by the COVID-19 pandemic, from 26 February to 3 March 2020.

The workshop was attended by 25 participants, from 5 broadcasting stations and government.

There were also representatives from the Eswatini Ministry of ICT, and broadcasting personnel from both state and privately owned radio and TV stations; Voice of the Church, Eswatini Broadcasting and Information Services, University of Eswatini Radio, Channel Yemaswati and Eswatini TV. The workshop content was designed to empower broadcasters to have a clearer understanding of the different technical elements of broadcasting as well as future technologies. Topics of discussion included trends in digital video and audio as we move into the future. The workshop also focused on file formats and compression for broadcasters to better understand the working principles of lossless and lossy compression techniques, and how these are applied to the common codecs in use, from JPEG to H265. An in-depth illustration on how broadcast IP networks are

created and how they work, was part of the workshop activities. The overall focus was on the move from traditional configurations to full IP studios in line with global trends in broadcasting.

The second workshop was held in Ezulwini from the 7 to 11 December 2021. This workshop was facilitated by Tinus Smit, who is an experienced broadcasting expert from SACIA. Attendees were the same pool of industry representatives from the first workshop. This workshop focused on, but was not limited to, standardsbased quality assessment, quality control concepts, standards for broadcasting services, video and audio over IP as well as technical measurements.

In line with its mandate to regulate and supervise the provision of radio and television broadcasting services and content in the Kingdom of Eswatini, the Commission hosted the workshops as part of promoting efficient management and human resource development within the country’s communications industry. This was also in response to feedback received from sector licensees on the need for continuous capacity building.

The benefits of these workshops will be the enhancement of Eswatini’s broadcasting standards to a professional level through a structured workflow, quality sound processing and post production as well as in the technology used for program production and delivery. The regulator continues to work hand in hand with local broadcasters, especially during this global pandemic, to progress the industry and ensure that end-users in the kingdom receive timeous and quality information through the various broadcasting platforms. • | 5

SOUTH AFRICAN EVENTS INDUSTRY

LIGHTS SA RED On the 5th August 2020, the emergency signal went out across South Africa’s Live Events Industry, as landmark buildings, event spaces and warehouses across the country lit up in red for the Light SA Red Campaign.

A dire situation The COVID-19 pandemic had hit hard across all industries globally, but in South Africa, where the country was entering its 6th month under lockdown and many did not qualify for social relief schemes, the event industry was already on its knees. Numerous event companies had closed, staff had been furloughed or retrenched and many freelancers were literally starving.

The Light SA Red Campaign was launched to draw attention to the plight of this industry and to place the South African government in a situation where they were forced to;

Engage with elected leaders from SACIA, TPSA and the SA Events Council, and provide a platform for collective voices to be heard around ways of reopening the sector safely and quickly.

lockdown. Together with industry stakeholders, the Association developed a number of activities to keep the spotlight on the industry and to achieve a place at the table to discuss the way forward for the industry with Government.

Together with financial institutions extend fiscal relief to those dependent on the technical production and live events industry … until work is permitted to resume.

The most effective of these was the LightSARed campaign, the brainchild of local distributor DWR. The idea was to light buildings, landmarks and performance spaces across the country in emergency red - the universal colour of distress - to draw attention to the crisis faced by the industry. The campaign raised awareness across radio, social and print media combined with simultaneous live streamed events (featuring live music and entertainment over a 12-hour period) and invited the participation of the Minister of Sports, Arts and Culture.

Recognise and support any registered nonprofit organisations and NGOs trying to sustain destitute crew and others from the technical production and live events industry.

Seeking to open dialogue with Government The South African Communications Industries Association (SACIA) had been engaging with international counterparts like the UK’s PSA and Germany’s VPLT and actively lobbying government for assistance from early in the

The Cape Town Stadium lit for #LightSA Red 6|

SACIA and the SA Events Council were positioned as the legitimate voices of the industry, with the Chairman of the Technical Production Services

Table Mountain was floodlit in support of the campaign

Association (a special interest group within SACIA), Sharif Baker, as spokesperson.

Unprecedented support The Industry came together in an unprecedented groundswell of mutual support, from Performers to Service Providers, Venues, Designers and Organisers to fight for the survival of the Events Industry in South Africa. Everyone involved contributed their time, talent, skills and hardware resources on a voluntary basis in support of the campaign. #LightSARed also caught the imagination of the general public and industry supporters who joined the campaign, posting their own homes and profile photos lit in red on social media to show solidarity.

505 iconic buildings and performance spaces lit up in red across all provinces, including Table Mountain, the TicketPro dome and the Voortrekker Monument. Print and online media to the value of R493m went out and 18,216 followers on social media generated thousands of posts and reposts, flooding Facebook, LinkedIn, Twitter and Instagram in red.

The Livestream events were attended by 4,985

viewers off Skyroom Live and a further 26,705 via social media. Collen Hlatshwayo, Deputy Director for Cultural Development in Event Technology from the Department of Sports, Arts & Culture (DSAC) joined the livestream which exposed him to immediate concerns in person.

continue to fight for the right to trade safely and responsibly, and although progress is slow, it is steady and we trust that our commitment to the cause will prevail.” •

Commitment to the cause This was the first step in a series of meetings with the Director General, Deputy Director General and the team of the Department of Sports, Arts and Culture, the Department of Tourism and SSBD to present the 22-point re-opening plan and to work on a phased reopening based on the protocols set out in the Event Re-Opening Guidelines, including attendance numbers based on direction written by the Events Safety Council around 50% of venue capacity.

SACIA and the SA Events Council continue to lobby for the further relaxation of attendance capacities and for financial assistance, to draw attention to events that flout the regulations and to expose the lack of policing by the relevant SAPS and Government entities.

“We find ourselves in extremely dire circumstances across the events industry,” says Baker, “but as representatives of our industry, we

Montecasino - a beacon for the Events Industry

The #LightSARed Campaign marked the start of engagement with the Department of Sports, Arts and Culture which has resulted in the formation of a Ministerial Advisory Team. This Task Team reports directly to Min. Nathi Mthethwa to address the issues of the Creative Industries under the threat of COVD-19.

Nelson Mandela Bay Stadium | 7

Why SACIA cannot take the role of

INDUSTRY POLICEMAN Reports and photographs of non-compliant events during the second half of 2020 were met with outrage from frustrated events industry practitioners, many of whom are working tirelessly to ensure the safe reopening of the sector during the phased re-emergence of events.

SACIA has been engaged in a protracted drive to re-open the events industry safely, to provide benchmarks for events practitioners, venues and performers alike, to make the government and regulatory agencies aware of the Re-Opening Guidelines and to draw attention to noncompliant events as they happen. Embattled industry players have increasingly turned to SACIA to assume the role of an industry policeman or watchdog.

8|

mitigation plan as well. The Event Organiser is responsible for ensuring that the environment is safe for performers, crew and patrons attending the event. SACIA and our members have no mandate to conduct an inspection or enforce compliance with any regulation/legislation.

It is incumbent upon Event Organisers to employ extensive health and safety measures, including the submission of a comprehensive Event Safety Plan, to the South African Police Service.

Included in the submission every event, meeting or conference is required to provide an eventspecific COVID-19 Management Plan as well as a COVID-19 Compliance Officer appointment over and above the Event Safety Officer appointment, in line with SASREA.

Responsibilities clearly defined It’s an issue that has come up on several occasions in the past and one that has been robustly debated, but the bottom line is that in the events industry, recreational events are governed by SASREA, the Safety at Sports & Recreational Events Act, and now under the Disaster Management Regulations, which determine that the responsibility for safety at an event is vested in the Event Organiser.

The City through its relevant safety department then conducts a site inspection to ensure that general Health and Safety standards and compliance for COVID protocols are being met. Only once EMS has approved plans and provided inspections and the venue and event organiser can demonstrate compliance, will the event be granted permission to go-ahead.

A SAPS Risk Categorisation application to SAPS Prov as per SASREA runs concurrently with the City JOC process.

It is the Event Organiser who needs to ensure the appointment of a structural engineer to issue an engineering compliance certificate for any temporary structures, a master electrician who can sign off on and issue a COC for the 3-phase electrical reticulation and now a COVID-19

SASREA also clearly defines who is responsible for inspection and enforcement of standards on an event site and during an event. The SA Police, as an integral member of the City JOC, carry the duty of care for on-site enforcement of safety protocols and in the case of an accident, the Dept

of Employment and Labour is responsible for conducting an inspection and determining the cause of the accident. They’re also responsible for identifying individuals and companies whose actions have contributed to the accident.

Where SACIA fits in "Of course we want to assist where it is appropriate - we need to support those individuals and agencies mandated to inspect and enforce safety protocols in the carrying out of their duties and draw attention to events which do not comply. However, we cannot, by law, interfere with or take on the role of these agencies," says SACIA executive director, Kevan Jones.

SACIA, as any other body in any industry, has an obligation to ensure that their registered members act within ethical codes/conditions contained in its constitution. This includes encouraging their members to exercise any protocols endorsed by SACIA. "So, what we CAN do is work to develop better standards. We can collaborate with colleagues around the world to ensure we are able to embed international best practice into our activities. We can engage with regulatory bodies to improve legislation. As a professional body and the representative of the broader industry, we intend to continue driving the pursuit of excellence and promoting a philosophy that puts safety at the core of the events industry in South Africa." • https://www.youtube.com/ watch?v=QeCIOR3hypc&t=141s

What is SACIA’s position regarding the

REGULATION OF PAY SCALES? Some time back, the Technical Production Services Association (TPSA) engaged in an investigation of payment tiers for the event industry to explore the possibility of establishing pay scale guidelines and enable freelancers to command a remuneration rate commensurate with their training and qualifications. The aim was to promote the culture of continuous professional development and the achievement of professional designations, in line with the SACIA ethos.

While freelancers were strongly in favour of the initiative, the investigation was greeted with some suspicion by potential employers who feared that the established pay scales would disallow negotiation with their freelancers and strong-arm businesses into pay levels they could not afford. On further investigation, SACIA realised that many of the discussions the TPSA had had in respect of pay scales for the freelance community, had unfortunately come dangerously close to attracting allegations of price fixing as defined in the anti-competitive guidelines.

Competition Commission instigated an investigation in the Animal Feed Manufacturers Association (AFMA), the South African Poultry Association (SAPA) and the Fertiliser Society of South Africa (FSSA). The Commission clarified that in term of the Act it is illegal for Associations to exchange information about prices and average prices over time, cost, market

“We need to be clear that we can’t collude with individuals to establish recommended pay scales, and we also cannot endorse any pay scales they may prepare independently of us.”

Kevan Jones, Executive Director, SACIA

Do recommended pay scales reflect anticompetitive behaviour?

A judgement obtained by the Competition Commission against the Institute of Estate Agents of South Africa (“IEASA”) in 2004 determined that the recommended rates put out by IESA had eliminated the competitive process within the industry. Set rates had deterred estate agents from setting individual rates, thus removing price-competition and innovation. The Competition Commission ruled that recommended pay scales reflect anticompetitive behaviour, and that organisations that facilitate such discussions are seen to be encouraging individual members to collude with each other in establishing pay scales and by extension, depriving consumers of competitive pricing.

penetration and other commercial information that makes it possible for competitors to see volumes, pricing, customers and regions of operations.

Under those circumstances, we are unable even to engage in remuneration discussions on their behalf,” explains SACIA’s executive director, Kevan Jones.

“What we can do, however, is promote a culture that is based on fair business practice. We can fight against discrimination, victimisation, harassment, bullying and intimidation in the workplace. We can hold employers to a code of professional conduct. We can facilitate access to training and award designations that allow individuals to advance along a clear career path. We can provide templates that define the terms and conditions under which freelance crew might work. And of course, we can do far more ….. but we need to be clear that we can’t collude with individuals to establish recommended pay scales, and we also cannot endorse any pay scales they may prepare independently of us” he says. •

In recent years, several Associations which have attempted to publish pay scales for their industry sector have been instructed by the Competition Commission to remove these recommended pay scales from their websites.

What can SACIA do?

“SACIA is not able to set or recommend pay scales for the freelance production community without incurring legal action. In addition, Individuals working on a freelance basis in the Technical Production Services sector are not permitted to join or establish a trade union.

Illegal activities Associations active in the agricultural sector have also come under fire, and in 2010 the | 9

Formal recognition of excellence for

EVENT INDUSTRY PROS Back in 2015, EXSA, SAACI and IFEA pooled resources to set up the Council of Event Professionals Africa (CEPA) with the intention of establishing standards and developing training and certification programmes for the events industry in Africa.

For much of the 5 years since then, it has been a rocky road for the fledgling Association. “While we had a clear picture of what we wanted to achieve, we were out of our depth trying to navigate the complexities of the SAQA landscape,” explains Sue Gannon, erstwhile GM of EXSA and one of the original CEPA Board members. “We knew we wanted to promote the adoption of professional standards in the events industry and we understood that a formal designation registered with SAQA was the route we wanted to follow. What we didn’t recognise was the complexity of the criteria we’d need to satisfy if we wanted to develop and award a professional designation of our own.”

Five years of slow progress with the original SAQA applications highlighted the need for a different approach. “This was a particularly difficult time for us,” recalls Glenn van Eck, SAACI treasurer and like Gannon, a member of the original CEPA Board. “It was clear that a voluntary Board could not meet the detailed and time consuming needs demanded of the SAQA certification process. We noted the rapid progress in achieving results for technical crews after the TPSA merged into SACIA and 10 |

this provided the impetus to start a dialogue between CEPA and SACIA.” CEPA as a SACIA Special Interest Group Over a few years this dialogue progressed, and a win-win scenario became evident to both organisations. “This is always a drawn-out stage as Board Members of a body like CEPA want to ensure that the legacy they had envisioned would not be compromised,” says Kevan Jones, executive director of SACIA. “Patient conversations saw progress as the relationship and trust developed. The CEPA Board and the founding members decided that they would best be able to serve their members by reconstituting themselves as a special interest group within SACIA.” Once that decision was made in mid-2019, the CEPA and SACIA Boards established an interim Council to integrate CEPA into SACIA’s governance and operational structures, a process that was completed shortly before the declaration of the State of National Disaster on 15 March 2020.

“We had our first meeting of the newly constituted CEPA Council during the annual Meetings Africa exhibition at the Sandton Convention Centre during late February,” recalls Jones. “Two weeks later the COVID-19 pandemic was upon us and the entire events industry came to a grinding halt.”

3 new designations approved “Initially we assumed that the COVID pandemic would be over in a few months and we’d be

back to business as usual,” says Jones “so we ploughed ahead with the development of our new designations and submitted them to SAQA for review in June 2020. The review panel asked us to make a few small changes but they were eventually published in the Government Gazette on 14 August 2020 and approved by the SAQA Board on 20 November 2020. Five years of work and we now have three new designations for event managers that are awarded based on an assessment that reviews a candidate’s education, work experience and work ethic.

Each candidate is also required to provide a portfolio of evidence supporting their claim of competence, and write an examination that tests the breadth and depth of their knowledge.”

Event Associate The entry level is the Event Associate designation which signifies an individual’s broad commitment to a career in events management. Individuals applying for this designation will generally have an NQF level-5 qualification in event management, with at least one year’s relevant work experience. They’re probably working under the supervision of an event manager and are expected to display well-developed interpersonal skills, as well as competence in event administration, marketing and event plan implementation.

Certified Event Practitioner Next step up is the Certified Event Practitioner.

This is a designation that signifies an individual’s

comprehensive commitment to a career in events management. An event practitioner will generally supervise an event and perform tasks such as finding and booking venues, liaising with clients and suppliers, handling logistics, managing budgets and invoicing, organising accreditation, managing risk, and presenting post-event reports. The practitioner will be competent in event administration, marketing and event planning. The designation also demonstrates the event practitioner’s commitment to continuing professional development in the events industry. Individuals applying for this designation need to have an NQF level-6 qualification in events management and at least three years relevant work experience.

Certified Event Professional The highest designation is the Certified Event Professional that signifies an individual’s deep commitment to a career in events management.

An event professional is responsible for organising, mobilising and/or coordinating the staff, event participants, officials, and administrators for the successful execution of an event. Individuals at this level need to have an NQF level-7 qualification in events management and have at least 5 years relevant work experience. “At the professional level we’d expect candidates to have a deep knowledge within a particular event genre,” explains Jones.

“In assessing candidates at this level we’ve partnered with several Associations to ensure that our assessment can be genre-specific. For example, we’re working with SAACI to develop assessment tools for conference organisers

on the development of these designations.

“Although CEPA was only registered in 2015 it’s a project that the founding Associations have been working on since the launch of the EMBOK (Event Management Body of Knowledge) in South Africa in 2004. This was designed to encourage professional development programming and credentialing products that offer international recognition and career portability for Association members,” says Landey. “Since that launch we’ve worked closely with the Canadian eMerit programme to develop designations that are aligned with international standards and best practice. To say that I’m pleased is completely inadequate. It’s a process that’s taken a huge effort from many people over an extended period. We’re pleased that the SACIA team were able to walk the last mile with us – to help us over the finish line, but it’s important to recognise the work put in by many individuals who care deeply about the future of our industry. Now that the designations are listed on the National Qualifications Framework, industry itself needs to step up.

and with SAMIC to develop assessment tools for music promoters. We expect to have a comprehensive set of assessment tools available quite quickly so that we can assess applications from individuals working across almost any event genre.

The SACIA Board is also very aware that many people working in the events industry do not have any formal qualifications in the sector. “While the National Qualifications Framework underpins our designations, we encourage individuals who otherwise meet the

“We need to encourage individuals to apply for a designation, and we need to encourage employers to require staff to earn a designation appropriate to their competence.”

We need to encourage individuals to apply for a designation, and we need to encourage employers to require staff to earn a designation appropriate to their competence. The last 15 years will have been a complete waste of time if industry professionals don’t grasp this opportunity to earn a designation that recognises their skill, knowledge and competence. These designations will be a key factor in developing our industry in the future, so step up and submit your application today.” •

requirements but lack any formal qualification to submit an application for recognition,” says Jones. “It’s a bit more work to prepare your portfolio of evidence but, individuals who have the proven skill, knowledge and competence can earn a formal designation that’s listed on the National Qualifications Framework.”

An opportunity not to be missed It’s difficult not to allow Janet Landey, president of IFEA Africa, to have the closing comments

5 EASY STEPS TO APPLY FOR A PROFESSIONAL DESIGNATION 1

2

3

4

5

DOWNLOAD

PORTFOLIO

QUALIFICATIONS

TESTIMONIALS

SUBMIT

Download the Members Handbook from the Certification page of the SACIA website

Prepare your Portfolio of Evidence supporting your claim of competence

Submit foreign qualifications for assessment by SAQA to validate status

Gather testimonial letters of ethical business practice and sign the SACIA Code of Professional Conduct

Submit all documents to SACIA, along with proof of payment of the relevant membership fees

DESCRIPTION

BENEFITS

QUALIFYING

ASSESSMENT

PORTFOLIO

The candidate will generally work under the supervision of an event manager. The candidate will be competent in event administration, marketing and event plan implementation.

Become a member of SACIA and use the designatory letters CEA behind their name. Offer employers and colleagues assurance of commitment to the events industry.

Relevant NQF level 5.

Fulltime employment demonstrate one year's relevant work experience.

Freelance basis - demonstrate at least 1,500 hours relevant work experience.

Applicants can choose to write an examination and provide a portfolio of evidence supporting their claim of competence. The portfolio is assessed by the SACIA certification council.

A detailed CV including a list of events worked on.

Testimonials and letters of recommendation supporting experience and competence.

List of awards or recommendations received.

An event practioner will have supervised an event. Find and book venues, liaise with clients and suppliers, handle logistics, manage budgets and invoicing, accreditation, risk and post-event reports.

Become a member of SACIA and use the designatory letters CEP behind their name. Offer employers and colleagues assurance of commitment to the events industry.

Relevant NQF level 6.

Fulltime employment demonstrate three year's relevant work experience.

Freelance basis - demonstrate at least 3,000 hours relevant work experience.

Applicants can choose to write an examination and provide a portfolio of evidence supporting their claim of competence. The portfolio is assessed by the SACIA certification council.

A detailed CV including a list of events worked on.

Testimonials and letters of recommendation supporting experience and competence.

List of awards or recommendations received.

An event professional is responsible for organising, mobilising and coordinating the staff, event participants, officials, and administrators for the successful execution of an event.

Become a member of SACIA and use the designatory letters CEPA behind their name. Offer employers and colleagues assurance of commitment to the events industry.

Relevant NQF level 7.

Fulltime employment demonstrate five year's relevant work experience.

Freelance basis - demonstrate at least 5,000 hours relevant work experience.

Applicants can choose to write an examination and provide a portfolio of evidence supporting their claim of competence. The portfolio is assessed by the SACIA certification council.

A detailed CV including a list of events worked on.

Testimonials and letters of recommendation supporting experience and competence.

List of awards or recommendations received. | 11

New professional designation for

EVENT SAFETY OFFICERS In late 2018 ,SACIA’s Event Safety Council set about the development of two new professional designations for Event Safety Officers. It was a process that involved active engagement with various government and regulatory bodies, as well as local practitioners and industry colleagues from around the world.

The draft designations were published in the Government Gazette on 14 August 2020 and eventually approved by the SAQA Board on 20 November 2020. “This is an exciting time for the events industry in South Africa,” says Kevan Jones, executive director at SACIA. “Whilst legislation and standards reference the role and responsibility of event safety officers, there has not been, until now, any formal recognition of an individual’s competence in this field.”

commitment to safe working practices in the events industry,” explains Mike Lord, interim chair of SACIA’s Event Safety Council, adding that the advanced “Event Safety Professional” designation will be launched during the first half of 2021. “A Certified Event Safety Practitioner will have demonstrated their broad understanding of standards, regulations and laws relating to event safety, as well as a comprehensive understanding of the role and responsibility of stakeholders involved in the event chain.

It is critical that Event Safety Practitioners can demonstrate their understanding of SASREA, SANS10366: Health and Safety at Events, the Occupational Health and Safety Act, as well as City by-laws encompassing key appointments, site plan approvals, event licencing, event emergency planning, risk assessment and compliance, etc.”

Two new professional designations have been introduced. “We’re starting with the Event Safety Practitioner designation which signifies an individual’s comprehensive knowledge and

Individuals applying for the Practitioner designation are assessed on their education, work experience and work ethic, and are required to write an online exam as well as

“Whilst a comprehensive understanding of standards, regulations and bylaws is key, candidates are also tested on a broader range of competencies they’re likely to experience on an event site.”

Mike Lord, Interim Chairperson for the Event Safety Council 12 |

provide a Portfolio of Evidence supporting their claim of competence. They’re also required to have an NQF level 4 qualification (such as the National Senior Certificate) and at least two years work experience as an Event Safety Officer, specifically in the events sector.

Benchmarked against local and international standards “The multiple-choice exam tests a broad range of competencies required by individuals working in our sector,” says Lord. “Whilst a comprehensive understanding of standards, regulations and bylaws is key, candidates are also tested on a broader range of competencies they’re likely to experience on an event site. The exam includes questions around event power, temporary structures, bullying and workplace

intimidation, gender-based violence, weather, medical requirements, and much more.”

The multiple-choice exam was compiled by industry experts and members of the Event Safety Council working with the Event Safety Alliance in the United States. “We’ve benchmarked our questions against local and international standards and we’re confident that our assessment is academically robust and aligned with the competencies required by an individual working as an Event Safety Officer,” says Dr Lisa Welthagen, subject head for Events Management at Tshwane University of Technology and a member of the SABS TC264 committee responsible for the development of the SANS10366 national standard for safety in the events industry, “but knowledge alone is only one part of the assessment. Individuals applying for the designation need to provide a portfolio of evidence supporting their claim of competence. They need to demonstrate that they can apply their knowledge and create a safe environment for performers, technical crew working an event, and of course for patrons attending an event.”

1

Download the Members Handbook from the Certification page of the SACIA website

2

“When safety officers get it wrong, people inevitably get hurt” One of the first people to write the exam was Thomas Cameron from the Nelson Mandela Bay Disaster Management office. “This designation is long overdue and certainly separates those individuals who are competent as Event Safety Officers from the many fly-by-night operators claiming a competence they don’t have,” says Cameron. “The exam is difficult, and the assessment standards are high, but when you’re dealing with the safety of the public, that’s exactly how it should be. When safety officers get it wrong, people inevitably get hurt.”

A mechanism to identify competency What does the introduction of these designations mean to the events industry in South Africa? “During this State of National Disaster, we’ve seen a massive drop off in events, with attendance numbers severely curtailed,” says Jones, “but as vaccines and treatment plans start to become available, it is certain that the events industry will revive itself. The key question being asked by

Prepare your Portfolio of Evidence supporting your claim of competence

3

Submit foreign qualifications for assessment by SAQA to validate status

4

everyone working in national, provincial and local government is how events can be held without spreading the COVID-19 virus, and without posing a risk to the performers, patrons and crew working on an event. The answer is through the enforcement of standards and bylaws. The role and responsibilities of the event safety officer will be under a spotlight so it’s critical we have a mechanism to identify those individuals who are competent to do the job. Going forward I fully expect event organisers and their designated JOC’s will require every event to have designated staff in place to ensure compliance with all health and safety protocols.

Individuals interested in earning the Certified Event Safety Practitioner designation can download the SACIA Member’s Handbook from the SACIA website and can register to write the online examination. • https://www.youtube.com/ watch?v=gMaAUYe3aX4&t=408s https://www.classmarker.com/onlinetest/start/?quiz=rxd6000115be5bd8

Gather testimonial letters of ethical business practice and sign the SACIA Code of Professional Conduct

5

Submit all documents to SACIA, along with proof of payment of the relevant membership fees

DESCRIPTION

BENEFITS

QUALIFYING

ASSESSMENT

PORTFOLIO

Demonstrated their broad understanding of standards, regulations and laws relating to event safety. Comprehensive understanding of the role and responsibility of agencies involved in the inspection and approval of event power and temporary structures.

Become a member of SACIA and use the designatory letters ESP behind their name. Offer employers and colleagues assurance of commitment to the events industry.

Relevant NQF level 4.

Fulltime employment Minimum 2 year's relevant work experience iin the events industry. Freelance basis - demonstrate at least 105 days/year work experience.

Applicants write an online multiple-choice exam and are required to provide a portfolio of evidence supporting their claim of competence. The portfolio is assessed by the SACIA certification council.

A detailed CV including a list of events worked on.

Testimonials and letters of recommendation suporting experience and competence.

List of awards or recommendations received.

Demonstrated their compehensive understanding of standards, regulations and laws relating to event safety. Deep understanding of the role and responsibility of agencies involved in the inspection and approval of event power and temporary structures.

Become a member of SACIA and use the designatory letters CESP behind their name. Offer employers and colleagues assurance of commitment to the events industry.

Relevant NQF level 5.

Fulltime employment Minimum 5 year's relevant work experience iin the events industry. Freelance basis - demonstrate at least 105 days/year work experience.

Applicants can choose to write an examination and provide a portfolio of evidence supporting their claim of competence. The portfolio is assessed by the SACIA certification council.

A detailed CV including a list of events worked on.

Testimonials and letters of recommendation suporting experience and competence.

List of awards or recommendations received.

| 13

New designation in the pipeline for

TALENT MANAGEMENT The integration and co-operation of the Performance Industry began with the signing of an Affiliate Agreement between SACIA and the South African Guild of Actors (SAGA) in 2019 to develop Professional Designations for Actors / Performers. In 2021, the development broadened to include a similar Agreement between SACIA and the Personal Managers Association (PMA).

category – that of agent – but Performing Arts Management is very specific and requires a completely different skill set from that of an Extras or Model Agent,” explains PMA’s Althea Greenland.

“The current situation allows for anyone without the necessary training and/ or industry experience to open a Talent Management Agency, often to the detriment

“Having a professional designation in place and the relevant information available will empower and upskill Talent Management practitioners...”

Althea Greenland, PMA

Founded in 1980 and representing 36 agents from 20 professional performers' agencies in Johannesburg and Cape Town, the PMA is the largest and oldest Association for Talent Agents. It focuses on the facilitation of ethical best practice, cooperation and communication for the benefit and betterment of professional Talent Agents.

As is the case in many areas of the creative and communications Industries, there are no formal qualifications or legislated standards in place for talent management, leaving the sector vulnerable to individuals claiming a competence they don’t formally have. The development of a professional designation is thus the next logical step towards professionalising this sector.

Creating a recognised standard “A professional designation will set a recognised standard for all South African Talent Agents to adhere to. Often we are put in one 14 |

of the performers they represent. Having a professional designation in place and the relevant information available will empower and upskill Talent Management practitioners who will be able to avail themselves of training and support through associations like the PMA,” she says.

The two entities will work closely to develop a designation that recognises the professional competence of Talent Agents working in the entertainment industry. Thereafter, the development of clear standards will transition

the Performance Management industry sector into a professional environment with recognised benchmarks, training programmes, a defined code of professional conduct, and disciplinary processes. A Talent Agent will need to participate in a programme of continuing professional development, maintain membership of SACIA and abide by a code of professional conduct to maintain the designation, once earned.

SACIA “a perfect fit” “SACIA is a perfect fit for our association, as they specifically promote the adoption of professional standards and ethical business practice in the communications industry throughout southern Africa and are recognised

by SAQA. We started discussions with SACIA’s Kevan Jones in July 2020 and we are now at the foundation phase of formulating the basic requirements. SACIA’s experience with registering a Professional Actor designation for SAGA has proved valuable in identifying the core competencies and education requirements for a professional Talent Agent and outlining the areas of operation in the industry. We look forward to our continued association with SACIA in promoting professional standards and ethical best practice in the broadcast and the audio-visual industry” says Greenland. •

Impact of the Copyright Amendment Bill Controversial? Hopeless? Transformative?

Whatever you might think of the Copyright Amendment Bill (CAB), its scope is too expansive to be neatly contained within this article, so I will confine myself to a brief reflection of the impact of the CAB as it pertains to the rights of professional actors in South Africa.

SAGA, as an affiliate of SACIA, stands for maintaining the highest levels of professional skills, performance standards and the adoption of ethical industry practices in all facets of the performance sector.

South African actors are typically contracted as freelancers, but what distinguishes our sector from the rest of the world is that we have neither statutory nor Collective Bargaining rights to balance the uneven contracting power of producers and broadcasters.

Consequences of an unregulated sector An industry without statutory regulation is on a race to the bottom. Safety protocols can be flouted at will; producers pick and choose to engage actors sometimes as freelancers or as employees, depending on which option benefits the producer most. There is no benchmark for acting rates. You could try to set benchmarks of course, but you risk producers reporting you to

the Competition Commission for collusion and price-fixing (yes, this has happened already).

But by far the biggest disincentive for new talent (and a true slap in the face for veteran actors) is that our earning rights do not include the right to earn royalties. As an example, the Shaka Zulu TV series of the 80’s that generated over R5 billion in global sales brought no benefit at all to the lead actor, Henry Cele who died destitute in 2007 at 58yrs old.

Continue earning an income The Performers’ Protection Amendment Bill and the linked Copyright Amendment Bill establish historic provisions for actors to earn royalties through the exploitation of their work in film and TV. In effect, royalties allow actors, who have enjoyed full and successful careers, to continue earning a residual income as their work is distributed around the world. It also means that when they eventually pass on, there is something to bequeath to their dependants.

For actors, the Copyright Amendment Bill means breaking the chains of copyright restrictions born out of an apartheid economy.

It is a step towards professionalism, dignity and the alignment of the sector with modern global standards. The Copyright Amendment Bill is a step towards the future of our industry.•

“For actors, the Copyright Amendment Bill means breaking the chains of copyright restrictions born out of an apartheid economy. ” – by Jack Devnarain Chair of SAGA

Reflections on the white paper on AUDIO AND AUDIO-VISUAL CONTENT In October 2020 the Honourable Minister Stella Ndabeni-Abrahams of the Department of Communications and Digital Technologies published the draft white paper on Audio and Audio-visual content services policy framework for public comment.

This is in addition to the existing Broadcasting Services category. This change will enable the regulation of local and international streaming services which is good for the industry as it compels foreign operators to invest in local content production.

The white paper seeks to include over the top (OTT) streaming and video sharing platform services (such as YouTube) into the policy framework. The main aim of the paper is to promote social-economic development and investment by creating an enabling environment for the provision of inclusive audio and audio-visual content services (AAVCS) to all South Africans.

“SACIA is pleased that the paper proposes a local content quota of 30% for all tiers of content services (public, commercial and community).

This will stimulate job creation in the technical production and creative arts sectors, which makes up the majority of our members,” says Aldred Dreyer, Chair of SACIA's Broadcast Industry Council.

In terms of licensing, two new categories are being proposed; On-demand Content Services (OCS) and Video Sharing Platform Services (VSPS).

“An independent and commercially healthy public broadcaster is beneficial to the sector.

The paper proposes a comprehensive overhaul of the SABC’s funding model which SACIA fully supports.”

“Overall, the draft white paper on Audio and Audio-visual content services is a great leap forward to create a tech-neutral, enabling policy framework that will modernise the South African broadcasting landscape.”

Aldred Dreyer, Chair of SACIA's Broadcast Industry Council

To stimulate more foreign direct investment the paper also proposes an increase in the foreign ownership limitation from 20% to a maximum of 49%.

While the draft white paper is a step in the right direction, there are still shortcomings that need to be clarified before the policy can be finalised.

For example, the draft white paper mentions “content” 225 times, yet there is no definition for the term included. SACIA proposed the following definition; “The ideas and information that is presented to a user/s using sound, video or text,” but this has yet to be finalised.

This document also needs to give definitive answers to issues such as how the licensing of international players will be granted. In the current framework an individual licence can only be issued through an ITA (Invitation to Apply) process. In addition, how will local content quotas be enforced for international players such as Netflix and Amazon? Further engagement with government is needed to clarify these issues.

“Overall, the draft white paper on Audio and Audio-visual content services is a great leap forward to create a tech-neutral, enabling policy framework that will modernise the South African broadcasting landscape.” says Dreyer. • | 15

Spectator guidelines - a step towards

RE-OPENING TO HIGHER CAPACITIES SACIA’s Event Safety Council (ESC) has been at the forefront of COVID-19 safety advances throughout the duration of South Africa’s lockdown. Subsequent to the ESC’s development of the back-to-work ReOpening Guidelines for the event industry in the first half of 2020, they were approached by the SA Rugby Union to collaborate on a set of procedures which would safely allow spectators back to rugby matches.

Before the project could get started, the Department of Sports, Arts and Culture (DSAC) issued an advisory to all individual national sports federations mandating the South African Sports Confederation and Olympic

16 |

Committee (SASCOC) to produce a common set of guidelines for all sports federations to adopt. SASCOC then engaged ESC to assist in meeting this objective using the ESC Events Industry Re-Opening Guidelines as the foundation. The ESC task team, led by SACIA Executive Director Kevan Jones and Events Safety Council Chair, Mike Lord, developed specific Spectator guidelines to cover ALL sporting events with spectators, irrespective of the sporting code. Although, each individual sport, like each event, still needs a COVID-19 Management Plan, these protocols align safety thinking across the broader industry affording sporting events, live events and business events a common approach.

International best practice “SASCOC submitted a robust and highly detailed set of proposed protocols and guidelines to manage the return of spectators to sporting events,” says Mr. Mark Alexander, president of SA Rugby. “It is a thorough and highly detailed 86-page document that draws on lessons from around the world and international best practice and takes into account South African legislation and Department of Health guidelines in addressing all the safety related concerns in having large groups of people accessing venues and congregating at sports events. “ The Guidelines consider every element from

parking and sanitation stations to special needs attendees, entry and exit management by way of social distancing and food and beverage management. It also proposes solutions such as ‘rapid-testing’ of ticket holders in conjunction with standard screening procedures as a means of getting fans back to some of the bigger stadiums.

SASCOC submission “SA Rugby, and I am sure the rest of the sports industry, is confident that we can manage the return of supporters to our venues within government-set parameters – crowd management is what our grounds do every weekend anyway,” says Mr. Alexander. “We are hopeful that the powers that be will recognise the quality of the SASCOC submission and

sports’ ability to implement the plans as well as the desperate need to re-open our venues to fans.”

SASCOC and the ESC are pushing for Government to allow spectators to attend sporting events at higher capacities than current regulations allow for, subject to their ability to furnish either a negative test recognised by WHO and approved by NICD/ SAHPRA or proof of vaccination.

“We have requested that DSAC/Government sanction a series of proof-of-concept events which allow access to spectators with negative tests. We advocate a stepped approach, starting with 1,000 pax, and ramping this up to a point that we could accommodate 50%

of venue capacity in the coming months.” says Lord “Once this is implemented in the sporting arena, adopting the same approach for live events would be relatively easy to do, so this is a step in the right direction for events overall.” •

PO POWEBY W RED POWERED SACIA BYERSA EDCIA

BY SACIA RE RE-OPEN -OPE ING NIN RE-OPENING GUIDELINES GUI DEL GINE S DE GUI

LINES

“It is a thorough and highly detailed 86-page document that draws on lessons from around the world and international best practices...”

Mark Alexander, SA Rugby President

FOR SPECFO R SP FOR SPECTATORS TATO RSECTATORS AT G AT SPORTIN SPEVEN ORTIN AT SPORTING EVENTS TSG EVENTS

2021 PUBLISHED BY SOUTHERNPUBLISHED BY FIRST EDITION – MARCH FIRST EDITION – MARCH SOUTH AFRICAN COMMUNIC PUBLISHED BY SOUTHERN AFRICAN COMMUNICATIONS INDUSTRIES ASSOCIATION NPC 2021 ERN ATIONS AFRIC INDUSTRIES AN COMMUNICA ASSOCIATIONFIRST www.sacia.org.za NPC EDITION – MARC TIONS INDUS H www.sacia.o rg.zaTRIES ASSOCIATIO 2021 N NPC www.sacia.o rg.za

Re-Opening Guidelines for Spectators developed to cover ALL sporting events with spectators, irrespective of the sporting code.

| 17

Is there sufficient commitment to SAFETY IN THE THEATRE ENVIRONMENT? 1989 accident focuses attention on theatre safety Gaynor Young’s life, as a young actress changed forever when she plunged 18m down an unguarded lift shaft at the State Theatre in Pretoria in 1989.The accident left Gaynor with extensive brain injuries and resulted in the loss of her hearing as well as 60% of her sight.

For people working in the industry at every level, the ripple effect of that accident changed attitudes to Health and Safety forever.

Regulations were tightened all round with a particular focus on safety around moving stage machinery.

Incident in 2020 under investigation Yet on October 2020, guitarist Raymond Green fell from altitude down a lift shaft on the Mzanzi Magic Idols set on the Opera Stage at the State Theatre in Pretoria, an accident resulting in a torn liver, cracked pelvis and elbow and multiple surgeries. The incident is still under investigation by the Department of Labour, but it seems incomprehensible that this type of accident could have happened once again despite all the precautions that were put in place after the first one.

Our Industry cannot afford to become complacent or relax our vigilance for even a second. While the facts of the case are as yet undetermined and no liability has been apportioned, an accident like this should not have been able to happen in light of the safety regulations around theatre safety. We know the dangers associated with our career choice and should be outraged that a repeat incident was able to happen in an industry that prides itself on delivery excellence and regards safety as a primary consideration of any event.

TC264 committee must include theatre practitioners For the last few years the SABS has explored the development of a theatre safety standard (draft standard SANS1685) but last year they made a decision to stop work on the development of this new standard and instead, adopt an equivalent BSI standard. This process is not yet finalised and the SABS technical committee responsible for the implementation of safety standards is still reviewing the BSI material.

The vision is to expand the membership of the TC264 committee to ensure that theatre

practitioners are involved in the review of the BSI standards before they are adopted in South Africa. •

In October 2020, guitarist Raymond Green fell from altitude down a lift shaft on the Mzanzi Magic Idols set on the Opera Stage at the State Theatre in Pretoria.

Sharif Baker enters the Ring for

RUMBLE IN THE JUNGLE The Technical Production Services Association’s (TPSA)’s Rumble in the Jungle industry event was an on-line interactive debate which aimed to raise awareness around the Association, answer any questions directly and to rally industry to join and support its primary drive to get everyone back to work.

Sharif Baker, chairperson of the TPSA, engaged with a diverse panel of event industry stakeholders including Rokunda Netshiluvhi (Freelancer), Charl Smit (Gearhouse South Africa), Aubrey Ndaba (Freelancer), Sizwe MoKoena (Ugqozi Entertainment), Mike Jones – (MJ Event Gear), Duncan Riley (DWR Distribution) and Mark Gaylard (MGG) with Kagiso Moima Wa Masimini (Black Motion Production) serving as mediator.

The event was designed to spark robust debate and while the debate did not perhaps unfold quite as TPSA intended, the platform proved very useful in exposing the misconceptions around the TPSA, its role in the industry and the lack of unity prevalent across all levels of the industry. Misunderstandings around the role of the TPSA and the value of earning a professional designation were highlighted and we will counteract this in 2021 through improved communication, more road shows 18 |

(COVID – permitting) and a particular focus on the freelance community.

Tranformation TPSA was labelled an “Old (White) Boys Club” in the mid 2000’s and despite its commitment to transformation, member participation in DSAC’s Transformation Charter Forum and increased membership diversification over recent years, has been unable to shake this perception. Issues raised at the Rumble in the Jungle reiterated the need for Transformation as an imperative and as a key driver in the future of the Association.

SACIA’s role as a SAQA recognised professional body recognising skill, knowledge and competence based on the award of professional designations makes the Association an ideal platform for professionals to grow their careers. As a special interest group, the TPSA will continue to drive the commitment to excellence through Professional Designations with the support of SACIA as the broader industry Professional Body and with a specific emphasis on Transformation. Professional Designations also offer historically disadvantaged individuals, without formal qualifications, the opportunity to gain recognition of competencies earned through experience.

Effect change from within Overall, the sentiment was that an Association is only as strong as its members. We invite the technical services community to step up, join and effect change from within to create an Association that meets everyone’s needs.

TPSA is playing the ‘long game’. We are concerned with building skills and professionalism to uplift the industry as a whole. There is no ‘quick fix’; this is a long-term strategy which will leave a legacy for the next generation.

The impact of the pandemic has exposed the cracks in our industry and at the same time presented an opportunity to mend the divide. Together we can change the narrative of the TPSA but we cannot achieve it without membership. Join us so that we can speak with one voice as a united industry. •

PLANE SAILING We’ve achieved quite a lot over the last 12 months

9

Extended influence across SADC region

7

8

Developed 6 new professional designations

Awarded 150+ professional designations across multiple Councils

6

Signed affiliate agreements with 3 Associations – working to develop new designations

5 4 Published the Event Industry Re-opening Guidelines

Won the bid to host the FIAT-IFTA World Congress in 2021 and 2022 Actively engaged with Dept. of Sports, Art & Culture

3

Led the DSAC audio-visual reference group on capacity building

1

2 Increased proportion of black membership to 28% from 9% in 2017 | 19

Understanding SACIA’s future direction

WHERE TO FROM HERE?

Every two years a new Board is elected from amongst the members of the South African Communications Industries Association. A key function of the Board is to define the Association’s strategic vision with input from the Executive Director and each of SACIA’s Special Interest Groups. It’s a collaborative process that allows many stakeholders to contribute and it is common practice for each newly-elected SACIA Board to convene a strategy workshop to review the Association’s strategic vision and map out operational plans for their coming term of office.

These workshops are led by an independent facilitator and non-members and industry partners are also invited to participate to ensure that we do not create an internal feedback loop.

2012

The Association MUST remain relevant to the markets in which we are active, and needs to be able to pivot in response to the changing needs of industry.

A shared Commitment to Excellence Part of our challenge is to help all sectors of the communication and entertainment industry to recover based on a shared commitment to excellence. We need to encourage all professionals working in the sector to embrace a commitment to professional standards and ethical business practices and we can only do that if we engage in the tough discussions about adhering to ethical and safe practice regardless of the desperate circumstances we find ourselves in. At the same time we need to work towards eradicating the racial prejudice and discrimination that continues to dominate

2014

A FOCUS ON STANDARDS, TRAINING AND INDUSTRY REPRESENTATION Our initial workshop, convened in 2012, hosted by Dr Nico Walters from the Strategy Institute focused on changes taking place in the audio-visual industry. A key outcome was the agreement that the Association would focus on standards, training and industry representation. These three objectives remain as relevant today as they were during the workshop, 9 years ago.

2016

SACIA AS A PROFESSIONAL BODY

STRATEGIC PARTNERSHIPS

In 2014, Peter Petzal from 2Cinternational in the UK, led a session attended by an expanded audience of members and industry stakeholders. This time, our workshop concluded with a much more aggressive strategy; to expand SACIA activities, establish a permanent office, and to apply to the South African Qualifications Authority (SAQA) for recognition as a professional body. Once again we were able to implement our strategy, merging with the TPSA later that year, and receiving SAQA recognition on 18 February, 2015.

Our 2016 strategy workshop was facilitated by Dr Denise Bjorkman from the Neuro Business Institute.

Again we explored an expanded vision for the future development of SACIA, covering many of the issues discussed in previous years, but expanding them to include the establishment of strategic partnerships with related Associations and industry sectors.

We identified a dozen related Associations we wanted to work more closely with and over the next 24 months managed to sign formal affiliate agreements with more than half of these. This strategic vision has led directly to the recent development of our new professional designations for actors, cinematographers, event managers and event safety officers.

the narrative across certain sectors of our industry.

As we start 2021, we encourage all our members not to lose sight of our goals, to remain focused on the value of our industry and to remain resilient as we navigate our way through our second year of the pandemic. •

2018

2020

RENEWED COMMITMENT TO TRANSFORMATION AND YOUTH DEVELOPMENT Dr Anton Baumohl from Kaboodle Leadership in the UK, led the 2018 strategy workshop which established the Association’s relevance to the market and explored how we could better serve our members. Two of the most important outcomes from this workshop were; the need to embrace a greater commitment to transformation and youth development and the need to develop a dedicated conference through which to engage with members. This led directly to the development of our COMMTREND conference that took place for the first time in September 2019, and the appointment of a dedicated youth development officer within SACIA to lead the development of on-campus SACIA chapters on South African universities.

BUILDING TO MEET THE CHALLENGES OF A CHANGED BUSINESS ENVIRONMENT COVID-19 postponed our 2020 strategy workshop and it’s likely that we’ll be facing a very different commercial landscape when it finally does take place. In the interim, we need to stay on track for when our industry recovers fully. Our three core aspects; a commitment to professional standards, industry-specific training, and industry certification remain the cornerstone of our vision but our current situation has highlighted the urgent need to accelerate our commitment to driving transformation and youth development within the Association, as well as to deliver more diverse training that’s both affordable and accessible.

SACIA is a SAQA-recognised professional body that is governed by a Board of Directors elected from amongst the membership. The Board is elected for a two-year period, and is advised by several Councils representing members active across the broadcast, AV, education, technical production and live events sectors. The current board is Chaired by Sharif Baker. Board members include Sue Gannon, Tinus Smit, Roman Magis, Uwe Beckman, Janine Lewis, Ramadan Suleman and Aaron Tshidzumba. Kevan Jones serves as Executive Director.

For more information on SACIA activities please visit the SACIA website at www.sacia.org.za or email info@sacia.org.za 20 |