SACIA Spotlight - Autumn 2020

BRINGING YOU THE LATEST COMMUNICATIONS INDUSTRIES NEWS

SP

TLIGHT AUTUMN 2020

25-26 FEBRUARY 2020

EXHIBITION SANDTON CONVENTION CENTRE JOHANNESBURG, SOUTH AFRICA

SACIA to exhibit at MEETINGS AFRICA 2020 Meetings Africa is one of the largest local tourism events featuring Africa as a preferred destination spot for business and travel. It provides visitors a comprehensive overview of the travel industry in Africa including the business and leisure event capabilities available on the continent.

It is a gathering to facilitate local interaction with decision makers from around the globe who have an interest in the continent’s diverse offering of services and products in the Business Services, Travel & Tourism industries.

It is, therefore, an ideal platform for SACIA to showcase its work as the Professional Body for the events and communications industries and our progress towards establishing and upholding industry standards and ethical conduct in service delivery for these areas.

and the Event Safety Council as dedicated Councils under the SACIA umbrella with their respective focus on event management, technical production and event safety.

It is an opportunity to highlight our shared commitment to professional standards and ethical business practices, and to present our existing TLE designation for theatre and event technical crew. We’ll also launch our new designations for event safety officers, as well as event co-ordinators, planners and directors.

For the first time, SACIA will be able to present a unified industry voice in which all stakeholders are bound by the same code of professional conduct … working together to drive a shared commitment to excellence in all aspects of the events industry. •

In 2020, SACIA will have a presence within the Associations Pavilion, profiling CEPA, the TPSA

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ARE YOUR QUALIFICATIONS still registered on the NQF? Over the past year SACIA has been working with the MICTSETA to award professional designations to industry professionals working on a freelance basis. As part of our assessment, all applicants have been requested to send us a copy of their highest academic qualification.

Much to our surprise, we have found several individuals who've lost their qualifications, and others who’ve provided us with copies of certificates, diplomas and degrees that are not listed on the National Qualifications Framework.

This could mean either that the qualifications are not recognised as legitimate within the South African education system …. OR it could mean that they ARE recognised, and the training provider has simply failed to upload your qualification to the National Learner's Records Database (NLRD).

Either way, it's an issue that has severe consequences because the National Qualifications Framework Amendment Bill,

presented to Parliament on 19 August, makes it a criminal offence for an individual to misrepresent their qualifications and competencies.

With this in mind, we encourage you to request SAQA to provide you with a copy of your information stored within the National Learner’s Records Database (NLRD).

If you’d like more information on the implications of the National Qualifications Framework Amendment Act 12 of 2019, you can access a copy of the document at this link: https://www.gov.za/documents/nationalqualifications-framework-amendment-act-122019-19-aug-2019-0000 •

IN NAMIBIA SACIA made two visits to Namibia in 2019 with the aim of introducing and promoting the association to the media and broadcast community. The visit in June coincided with the Southern African Broadcast Associations (SABA) AGM and conference held in the coastal town Swakopmund, Namibia.

SACIA used the opportunity to highlight the importance of continuous professional development and communicate the benefits of holding a professional designation as a member.

Tinus Smith and Ilsa Assmann also presented on continuous professional development and Audio/Visual content preservation, contributing the body of knowledge in the region.

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Complete and sign a consent form from the SAQA website http:// verisearch.octoplus.co.za/Documents/ RecordLearningConsentForm.pdf Scan the fully completed and signed form.

This service is offered by SAQA at no cost and is fairly quick, taking only around two weeks.

Should you find that any of your qualifications are not registered on the NLRD you can contact the awarding body and ask them to verify that the certificate, diploma or degree you hold is indeed legitimate.

SACIA activities

A follow up visit was done in November with the aim of starting a local chapter. Mr Ted Scott from the Namibian Broadcasting Corporation (nbc) will coordinate activities on behalf of the association in the country. Aldred Dreyer and Kevan Jones held meetings with industry leaders from One Africa TV, Namibian Broadcasting Corporation (nbc) and Film Association of Namibia (FAN) to share the plans for starting a local chapter.

The visit was well received by all stakeholders, especially the nbc who has taken a keen interest in the associations’ objectives for continuous professional development and the promotion

THE PROCESS

Madryn Cosburn, the CTO at OATV, took the SACIA team on a tour of the broadcast facility.

of ethical business practices. A follow up meeting was held early in 2020 to commence the work of the local chapter and to formally introduce Mr Ted Scott as the local liaison for the association. During the visit we targeted new members who will be applying for their requisite designations. •

Attach a certified copy of your ID Book/ Card/ Passport to the scanned consent form. (The certification should not be older than 3 months) Email the scanned consent form and your identification to verifications@saqa.org.za with the subject "Record of Learning".

A copy of your Record of Learning from the NLRD will be sent to your designated email within 14 days.

SACIA SIGNS AFFLIATE AGREEMENT with the SA Guild of Actors The communications, audio visual and live events sector is a highly productive and labour-intensive area within our industry, which remains largely unregulated, other than through the efforts of SACIA to entrench a policy of high delivery standards and ethical conduct.

SACIA’s large group of freelancers and professionals inter-relate very closely with performers, and it makes sense to bring this subset of the industry on board to benefit from SACIA’s efforts to professionalise the industry.

Formalising the relationship The working relationship between SACIA and the South African Guild of Actors (SAGA), which represents these performers, has been in place since 2015 and the signing of an Affiliate Agreement between the two in September has formalised the relationship. The new agreement will enable SAGA to extend its scope of activism, lobbying and outreach work to benefit the most vulnerable, atypical workers within this sector, as well as offer performers the opportunity to achieve professional designations within their field.

Supporting the objectives of the Guild SAGA Founder and Secretary, Carlynn de WaalSmit, expands on the benefits of the Agreement.

“While the performance sector itself has evolved at a rapid rate, little has been done to match the upskilling of professional talent with the dynamic challenges of the modern audio visual working environment. Many of our institutions of higher learning cannot adapt their existing curricula at the pace required to meet the accelerated rate of industry development.

We recognise that the awarding of a professional designation to actors will support our objectives as a guild and will allow the

South African performance industry to align itself more effectively with international best practice. It will enable our talent to compete for greater prominence in international markets.”

The proposed designation will give recognition of prior learning for those experienced, highly competent actors who were unable to afford skills development at tertiary institutions. It will also allow SAGA to establish a hierarchy of professional talent based on skill, experience and competence, which will be reflected in actors’ earning rates and promote their marketability.

“SAGA has been able to draw on insights from SACIA and its affiliate bodies to draft submissions to the department of Trade and Industry, Department of Sports, Arts and Culture and Department of Labour motivating for broad industry reforms. We rely on SACIA as a powerful centralised resource to share important industry information,” says Carlynn. •

IMPLEMENTATION PLANS FOR SAGA A Code of Conduct which will hold professional actors to account for the delivery of their work A mentorship programme that will support the continuous learning and upskilling of actors at any level of experience, and The development of a clear career path for industry professionals.

“We believe that SAGA’s affiliation with SACIA will not only serve our mandate to protect actors rights, but will make us more effective in our efforts to introduce professional standards that formalise and regulate our industry as a whole.”

Jack Devnarin, SAGA Chairman

"The proposed designation will give recognition of prior learning for those experienced, highly competent actors who were unable to afford skills development at tertiary institutions."

Carlynn de Waal-Smit, SAGA Founder and Secretary | 3

SACIA Student Council SHOWCASED AT AFRICA ASSOCIATIONS CONGRESS 2019 Central to maintaining an Association or Professional Body’s relevance and ability to serve their industries effectively, is their capacity to attract a broad, inclusive audience that reflects the diversity and equality required within their Industries.

The global situation on youth development has become critical and requires the attention of key decision-makers across most industries to address youth development. This is particularly significant in the South African context where genuine inclusivity is fundamental to the success of an organisation.

Influencing the Communications Industries’ Growth Path SACIA has been prioritising these concerns over the past few years and a direct result of this strategy was the establishment of the Student Development Council to actively involve the youth in influencing the industry’s growth path.

A number of other South African Associations and Professional Bodies already have active Youth Programmes. The Black Management Forum nurtures the development of its younger members through the Young Professionals (BMF YP) programme, the Black Lawyer's Association Youth Forum was successfully launched in August of 2018 and PRISA’s JumpStart programme has been in operation since June of 2016.

Although SACIA’s Student Council was only launched in 2019, its positive effect on the Associations’makeup and membership numbers is evident. The Council is proactively introducing new talent into the Communications Industries through Work Integrated Learning, Mentorship programmes and preferred employment prospects.

An opportunity to present Mpho Buntse, SACIA’s Project Manager for Youth Development, was invited to give a presentation on the Student Council at the Africa Associations Congress, 2019 which took place at the CSIR International Convention Centre in Pretoria on 18 - 20 Aug 2019. Amongst the key issues

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SACIA STUDENT COUNCIL

"The Young Professional’s Forum is affordable and Student Council membership is growing fast, so we are projecting a growth of about 45% in student membership in the next year” Mpho Buntse, Youth Development

discussed at this year’s event was the pivotal role that youth engagement plays in the survival of Associations. AAC is Africa's leading conference for association employees, officers and leaders and provided the ideal platform to showcase the work done by SACIA this year.

“We were the sole body that was invited to articulate its progress on youth engagement in this forum” says Mpho. “I was able to present the progress of the Student Chapters and discuss the Content Revolution series held at the Mediatech Expo and North West University (Mahikeng Campus) as well as the Women’s High Tea on 30th August at Blandford Manor.

SACIA’s exposure to this audience facilitated interaction with Association members beyond our industry, country and continent and we were able to forge new connections and strengthen existing ties.”

Student participation into 2020 Acknowledging the importance of the role played by the youth in driving the communication industries’ advancement, transformation and longevity, SACIA is incorporating youth engagement into its structure, practice, and policies.

The coming year will see SACIA exploring the establishment of additional Student Chapters in the Western Cape, Kwa-Zulu Natal and the Free State. “The Young Professional’s Forum is affordable and Student Council membership is growing fast, so we are projecting a growth of about 45% in student membership in the next year,” adds Mpho.

SACIA aims to provide industry entrants with a direct connection to the Communications Industries, its leaders, its networks and its job

opportunities. “Our young professionals are able to attain a SAQA-approved professional designation and negotiate their career paths through the Association, knowing that we are committed to excellence and a benchmarked delivery standard,” concludes Mpho. •

WHAT DOES IT MEAN TO BE A PROFESSIONAL BODY SACIA completes SAQA "renewal of recognition" Audit We are often asked about why SACIA chose to become a Professional Body. The title of Professional Body means that SACIA is officially recognised as positively influencing the development of professional and ethical standards within the Communications Industries.

As a professional body, therefore, SACIA has a statutory obligation to develop and award/ revoke professional designations listed on the National Qualifications Framework with an emphasis on professionalising the industry.

However, a Professional Body can only retain the title for a five-year period, after which, it needs to be audited to prove that it continues to meet the SAQA Policy and Criteria in this regard. This auditing process is one of the most noteworthy differences between an Association and a Professional Body. SAQA’s auditing process is used as a benchmark for the performance of professional bodies and goes way beyond a financial audit to include all statutory

obligations specific to a professional body.

SACIA completed the renewal of recognition audit on 10th October 2019 and was granted the renewal of recognition for another 5 years.

Comprehensive auditing This audit consisted of a comprehensive review of our activities over the last five years, including a full review of our governance policies and operating structures as well as an assessment of the processes we follow in awarding designations. SAQA aims to ensure that we are complying with our own requirements as well as statutory regulations.

SACIA Mandate Our mandate is not only to serve our members, but also to protect the public against any unprofessional and/or unethical conduct by certified industry practitioners. The holding of a professional designation can have a profound impact on the lives of our individual members, and the industries in which they function. While

a designation empowers people by recognising their skill, knowledge and competence; the revoking of a designation signifies that an individual is not participating in a Continuing Professional Development (CPD) programme and is no longer up-to-date with industry advances, and can have an equally serious effect on an individual’s career.

Accountability Since we are holding our own members accountable to a code of professional conduct, we too are expected to be beyond reproach.

In accordance with the audit, a full report is submitted in advance of a site visit. The report demonstrates our compliance in key areas such as registration as a legal entity, human resources, financial resources, good corporate governance practices, code of conduct and protection of the public interest, unfair exclusionary practices, education and training, continuing professional development, professional designations and the recognition of prior learning.

The audit submission proves that SACIA not only has the systems to serve our mandate, but that we also have the capacity and will to fulfil our obligations and serve our industry effectively.

We welcome the opportunity to demonstrate to both SAQA and our members that our standing as a professional body is both well-deserved and of benefit to the Communications Industry as a whole. •

Finding a unified voice FOR TECHNICAL PRODUCTION SERVICES TPSA held meetings with Live Event industry stakeholders on 30th October, 2019 at the Soweto Theatre and again on the 27th November at the Market Theatre to bring the broader community of theatre practitioners together to address challenges in the industry with a unified voice.

The meetings were led by Techforum and BPSA in conjunction with the TPSA Council and were streamed live to an additional 849 Facebook viewers.

“Our three groups are often side-lined and it is imperative that we work together with a unified vision and a definitive voice. It is the only way that we will be taken seriously by government and corporates alike,” says Sharif Baker, Chairman for TPSA. “While these meetings were long overdue, we have finally managed to achieve common ground with representation across all three groups.”

The meetings explored topics across the spectrum, from labour-related matters to rates

and standards; but the one issue that stood out above all, was the need for industry to take the lead in developing the policies and regulations to be adopted by government, rather than the other way around. “It makes sense for us to tackle the need for policy change and industry regulation together and in the spirit of Ubuntu,” he adds.

Those who participated did so, for the most part, with enthusiasm and a desire for unity and with the assurance that the message will be fed back to the larger communities involved. “There are still a few sceptics, but I am sure with the transparency of the work and mandates we have set out, they will come to realise the benefit of our goals and ambitions,” says Sharif. “Together, we can form the core of a new initiative to embed an ethical code of conduct and a foundation of high-level standards into our daily practice. Together we can improve the professional standing of technical production services in South Africa.”

The connections forged at these initial meetings will be carried forward with a series of web-

“It makes sense for us to tackle the need for policy change and industry regulation together and in the spirit of Ubuntu” Sharif Baker, Chairman for TPSA

based discussions, topics and information. “We are gaining momentum and although we are still in the early stages, I have high hopes for an all-inclusive participation to refine our common objectives around regulation and constitution.

As an industry collective, we need to ensure a profound unity, with no reference to colour, creed or cultural differences. If necessary, we will create a new brand/name that is more indicative of the Ubuntu legacy we are embracing.…something that will be become a beacon of our industry going forward.” • | 5

WOMEN IN

COMMUNICATIONS SACIA looks at gender representation within the Communications Industries We asked some of the women, in key roles in our sectors, whether there is a gender imbalance within the Communications and Technical industries overall and about the challenges they have faced in their careers in the sectors SACIA represents.

Natalie Delport Chairman of SACIA’s Education Council.

MD of Combined Skills Group Pty Ltd, Founder and CEO of FindaTrainer and City Producer for 48 Hour Film Project

Ilse Assman SACIA Board Member, IASA (International Association of Sound and Audiovisual Archivists) Immediate Past President. Media Information and Broadcast Archives Consultant.

Nolene Martin Vice Chairperson - TPSA Council.

Production Manager – Gearhouse Splitbeam (Pty) Ltd

Verona Duwarkah Founder of Blue Topaz Wellness Centre, Media Consultant and Life Coach. Author of the book Sacred Simplicity

Sara Blecher Ex SWIFT Board Member, Intimacy Co-ordinator

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Natalie believes that the balance of women to men in her sector is largely role-dependent. “I still find more females in administrative roles and jobs like research, makeup, production and assistant management, with more males filling the technical spots, including jobs like running, postproduction or directing. Women are known to socialise better than men and that’s a key role of a director, to bring out the best in the people (cast and crew) that s/he directs. Women have more compassion too, it’s a fact! So, they should be leading in those roles where people skills are essential.

During my 4-year tenure on a SETA board, I was one of only two females on a fifteen-strong Board.

ICASA and the SABC sent out a call for board members and had to extend the applications to appeal to women to apply, which just doesn’t make sense as there are so many suitable candidates in SA.”

Ilse has found that over a long career in broadcast archival work, it was predominantly women working in the archival field while the men tackled the technical aspects. With a healthy interest in understanding the technical side, Ilse realised that her challenges revolved around being able to influence decisions at a higher level and across a broader context than her archival specialities.

“I had to work harder to get my message across. It took overstating my logical argument and knowing my topic exceptionally well, to be taken seriously in management meetings. That said, however, I have not always felt marginalised as a woman.”

Nolene, working as a Production Manager in Technical Production Services at Splitbeam says that on the Technical Production side of Live Eventing, the ratio of female to male practitioners is around 10/90.

“I know of perhaps only one great lighting and one great sound engineer, who are woman. I am also surprised to be one of a few female representatives that have been on the TPSA Council at SACIA.”

Verona has worked in the television production and broadcasting environment for most of her career; her last two roles being that of Group Executive, SABC Television and CEO of Urban Brew Studios. She estimates the ratio of women to men in her field at around 40/60.

“Generally speaking, there is a lack of female involvement, especially at senior levels, in most sectors of the industry. I personally know of only around 30 women in CEO or Board member roles.”

Sara, a Director/Producer and Intimacy Coordinator, used to be on the board of SWIFT (Sisters Working in Film and Television) with which SACIA has signed a pledge to ensure that women are protected from predatory behaviour.

“Female representation is around 10% or lower for directing and around 40% for Producers but for my new field of intimacy coordinating, it is 100%, since I am the only one I know of in South Africa.

I was on a set yesterday for a feature film shoot and the DIT was female – which was incredibly surprising. She mentioned she knows only one other female DIT. I know one woman who works in grading, very few female DOPS, almost no sound women and many, many female editors.”

5 MAIN ISSUES SEEN AS BARRIERS TO FEMALE PARTICIPATION IN OUR INDUSTRIES 1

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LACK OF KNOWLEDGE

LACK OF FORMALISED MENTORSHIP OPORTUNITIES

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PATRIACHAL BIAS

PAY SCALE DISCREPANCIES

ROLE ASSUMPTIONS

Why are there less women within SACIA and the Communications Industries overall?

OUR WOMEN SHARED THEIR EXPERIENCES AND THEIR ADVICE ON HOW WE CAN OVERCOME THE ISSUES PREVALENT IN OUR SECTORS.

Natalie Responds...

Early in my career, I applied for a well-paid sales job with excellent benefits. I was experienced and suited for the position and had been referred by a recruitment agency. In my first interview, the male senior manager told me the job was mine because ‘you have a voluptuous body and I can’t wait to look at it every day’. I declined that job but that experience was an epiphany and a realisation of my values.

I was often ‘forgotten’ when the male sales reps were invited by international role players for a social drink. The males would get the larger clients and I was given what they didn’t want. Men could wear whatever they wanted to ‘social’ client events, but the women were told to ‘dress to sell’ – Seriously!

Comparing my remuneration with a younger and less experienced male colleague who started on the same day, in the exact same position, with the same responsibilities; I discovered that I was being paid significantly less. I wasn’t brave enough to question my seniors at that stage, but things are quite different now that I have learnt my own value.

Women are overlooked for promotions on the assumption that the role is ‘meant for a man’, ‘requires too much heavy lifting’ or that as a mother with young children, she ‘wouldn’t be able to work late or travel’.

I was always able to make friends with my male colleagues, and while I enjoy being treated like a woman, I still demand equal respect and treatment.

I want to be afforded equal time to make my argument and for it to be given equal attention.

Ilse Responds...

Women in the know are generally quite involved but we need to encourage more high-level female participation to influence SACIA’s growth We need to start educating at school level! Educators need to be more inclusive when guiding students and be wary of perpetuating the belief that careers like engineering or IT and the like are for males. Parents should do proper research before guiding their children on where, and what, they could study. " We should introduce incentives for women to participate more in SACIA activities – BUT this cannot be just lip service - women must engage and follow through with whatever they have committed to."

Find out what SACIA does. Speak to members, Board and other. Do your research, see where your interests and passions lie, and then find out where you can contribute. Even when contributing as a volunteer, the reality is that you’re committing to give of your time and your intellect - the Association needs women who will be able to see projects through from start to finish.”

"We need to communicate our intentions very clearly and aim at the youth because they will take us forward.”

I know my own worth and I don’t allow anyone to talk me down or disrespect my opinions, but I have definitely needed to put in more effort to get my message across.

We need to communicate our intentions very clearly and aim at the youth because they will take us forward.”

Be prepared to persevere against all odds, to make your voice heard without being offensive and, above all, to know your worth and respect yourself and your abilities. It’s never cool to lose your cool - it can ruin an opportunity completely! Find a way of releasing those emotions elsewhere."

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WOMEN IN

COMMUNICATIONS ...Continued from page 7

There is a lack of understanding amongst women as to what they can achieve within the maledominated technology industries. There is also sometimes resistance from the men in professional roles towards upskilling women.

Nolene Responds...

Women need to remember it is all about making a difference, creating awareness of our strengths and accomplishments and advancing our voice as industry experts. We need women in Communications to realise that SACIA offers the perfect platform to achieve this and that those already involved can assist.

Career awareness campaigns around our industries would go a long way towards encouraging female industry entrants. We need to raise awareness as to what SACIA is all about and maybe offer more related training. We need to make the Association as accessible as possible to encourage more diversity on all levels.”

“We need to raise awareness as to what SACIA is all about and maybe offer more related training.

We need to make the Association as accessible as possible to encourage more diversity on all levels.”

I have been quite fortunate in that I held senior positions in most of the engagements that I have been involved in, so I guess there is a level of respect that comes with this. Any negative experiences that I have had have not been about gender.

Go on a drive to recruit and train more women who exhibit the desire to grow into leadership and strategic roles. There should be research done around what the real percentage of male and female representation is, with specific targets set and monitored, to ensure that the necessary change happens.”

Verona Responds...

Women are certainly starting to be noticed in many realms but still only a handful of them - these women must take upon themselves to inspire other women to break through limiting beliefs to reach their full potential. Mentorship is something that must be equally sought and offered.

Know what you want and by when you want it.

Create a definite plan of how you are going to get there. You can ask for coaching and guidance along the way but if you are not clear about your desires nobody can help you. Let your passion drive your ambition to achieve success!"

Significant strides can be made if the organisation is marketed differently and experienced people in the field were recruited to guide new members, especially women. Within the industry overall, engage with the women who are in senior roles to guide and mentor future leaders."

I have experienced sexual harassment, bullying, patronising behaviour and physical insecurity; more especially because I am female. I have experienced it for myself and seen many others subjected to this.

Deal with issues of sexual harassment as a primary concern.

Sara Responds...

Improve working conditions in the industry.

Allow more opportunities for women to breach the ‘old boy’ networks that define opportunities in our sectors.

Form networks and alliances with other women.

There is strength in numbers. Educate yourself about all of these issues and become actively involved in fighting for them. Give preference to other women around work opportunities

OUR HOPES FOR OUR WOMEN IN THE FUTURE

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Natalie Delport

Ilse Assman

Nolene Martin

Verona Duwarkah

Sara Blecher

“Women to get job/career recognition because they are good at it. I have experienced some international companies indicating preferences for male executives because ‘there’s a lot of travel and it may not be safe for a woman alone’ – really?!”

“Women commanding respect from the outset.”

“Recognition of women’s abilities – industry equality – no bias based on gender.”

“More women taking the baton and leading the race in their specific arenas. Women need to think differently and set growth targets for themselves. They must be motivated and driven to lead!”

“A change in the way women are portrayed across all media – including film and TV. By far the best way to make these critical interventions is to simply have more women working in the industry.”

NINE WAYS

TO EARN

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EMPLOYMENT

Learning takes place at many different levels, including experiential learning within the workplace. SACIA therefore awards you CPD points just for continued employment. Even professionals working on a freelance basis qualify for a maximum of 7 CPD points per year of relevant (full-time) employment within the industry or 1 CPD credit for every 15 days work completed in any given year.

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ACCELERATED EXPERIENTIAL LEARNING

Experiential learning is accelerated when individuals work on projects that stretch production and/or creative boundaries. Working on such projects can therefore earn you an additional 3 CPD points, per project. Documentation confirming your participation in this type of project should be included within a portfolio of evidence to support your claim.

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SELF-STUDY

Due to the nature of our industries, many individuals find it easier to engage in self-study programmes after hours. Did you know that reading industry-related material or viewing online video content can earn you ½ CPD point per 2 hours of reading/ viewing time?

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TRAINING ATTENDED

You also qualify for CPD points whenever you attend relevant training. This includes training offered through registered academic or vocational training providers, as well as professional development training validated by a SAQA-recognised professional body.

Attending industry-related conferences, seminars and workshops will also earn you CPD points.

TRAINING DELIVERED

You will be awarded CPD points based on your delivery of professional development training as long as it is validated by a SAQA-recognised professional body.

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MENTORING & COACHING

Certified industry professionals sharing their knowledge with a protégé can claim 1 CPD credit for every hour of relevant engagement. In addition, protégés themselves earn 1 CPD credit for every hour of engagement while participating in mentorship programmes.

Evidence of mentorship activity needs to be logged and included within your portfolio of evidence.

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WRITING ARTICLES

Are you a field expert or thought leader? 1 CPD point is awarded for relevant articles published in industry-related publications (both print and online).

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ATTENDANCE AT EXHIBITIONS & OTHER EVENTS

Even attendance of relevant industry exhibitions and events which don’t have a training component qualify for CPD points. Did you attend Mediatech during 2019? Claim 2 CPD points for attending the show, plus additional points for attending any on-site workshop or conference sessions.

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VOLUNTEER ACTIVITIES

Volunteers serving on a Council, Task Group or Board will also earn CPD credits.

CPD POINTS 5 QUICKLY! Each professional member within SACIA is required to acquire a total of 70 CPD points over a three-year period (from date of receipt); to maintain the designation they have been awarded. CPD points are awarded based on your participation in relevant content-bearing activity. Usually 1 CPD point is awarded for every hour of activity.

While we all understand the importance of lifelong learning it may seem daunting to commit to earning your CPD points, within a specified time-frame, in an industry as busy as ours.

It’s not as time-consuming as you may think! •

SACIA SUPPORTS AMENDMENTS to Labour Relations Act On 11 December 2019 the Minister of Employment and Labour, Min Thembalani Nxesi issued a draft notice of intention to deem persons in the film and television industry as employees for the purpose of:

sector, while scriptwriters also work across print and digital media. We’ve proposed amending the description to include “individuals working in the entertainment and communications industry”.

National Minimum Wage Act 9 of 2018 Compensation for Occupational Injuries & Diseases Act 130 of 1993 Sections 20, 21, 22, 23, 24, 25 and 41 of the Basic Conditions of Employment Act 75 of 1997 Section 198B para 10 (a) of the Labour Relations Act 66 of 1995

Much of the work undertaken in the film and television industry spans only a short period of time. A cinematographer may work for two or three days on a television commercial, but potentially four weeks for a feature film. A drama series may take longer to shoot, but an extended run of work is the exception rather than the rule. We suggest that the proposed changes should apply specifically to freelancers employed for more than three months by the same employer.

These changes will allow freelancers working in the film and television industry to access the CCMA (Council for Conciliation, Mediation and Arbitration) to resolve workplace disputes, provide freelancers with the right to leave, leave pay, sick leave and maternity benefits and allow freelancers to claim from the compensation commission for workplace injuries.

Based on discussions with the Department of Labour and our reading of the proposed changes, it appears that for every purpose beyond those identified, the status of the freelancer remains unchanged.

Whilst employers will be required to contribute to the Compensation Commission, they are not required to contribute UIF levies so freelancers will not be able to claim from the Unemployment Insurance Fund when unemployed. Likewise, the tax status of the freelancer remains unchanged and they’ll still be able to offset legitimate business expenses against income earned.

The Labour Relations Act 66 of 1995 looks to advance economic development, social justice, labour, peace and the democratisation of the workplace - while section 198B examines individuals on fixed term contracts earning below an earnings threshold.

Whilst we support the proposed changes to para 10 (a) of section 198B, the clause seems to assume a long-term relationship between the employer and employee, so we have suggested that the proposed changes should apply specifically to freelancers employed for more than three months by the same employer.

The SACIA Board is largely supportive of this proposal but has written to the Minister to express several areas of concern.

The Labour Relations Act specifies that workers shall have the right to form and join trade unions, but it is unclear whether the proposed categorisation of freelancers as employees opens the door for them to join a Union – especially where the employer – employee relationship is for only a few days, and where the employed freelancer is likely to have multiple “employers” within a relatively short period.

The description of “persons in the film and television industry” is vague and we’ve requested clarity on who is covered and under what circumstances. Many technicians and performers working in the film and television industry also work in the theatre and live-events

The Department of Labour will be hosting discussions with organised industry and labour bodies during February to share their intentions, and we intend to ensure that whatever changes are applied to the legislation are implemented only after in-depth engagement with all stakeholders. • | 9

“Awesome experience. Thank you for giving me the chance to present. That was a wonderful learning experience that I will treasure forever.”

A RESOUNDING SUCCESS More than 170 enthusiastic delegates at the inaugural COMMTREND 2019 welcomed the opportunity to engage with industry experts and explore the emerging trends and technologies that shape the future of the Communications and Entertainment industries.

The high-profile event, which took place at Gallagher Estate on 22nd and 23rd October, was hosted by professional body, SACIA, for the broadcast, communications, live events, content creation and pro-AV industries in Southern Africa with the aim of stimulating ideas, promoting development and embracing new advances. The event also coincided with the Association’s 10 year anniversary.

Diverse and thought-provoking content A diverse range of speakers from the industry, academic institutions and affiliate organisations delivered thought-provoking and insightful presentations over the two days. Industry stalwarts and subject matter experts came together to share their knowledge at the event. Delegates also had the opportunity to delve deeper into subjects at workshops and smaller knowledge-café sessions, in which the social and technical trends were unpacked and explored in more depth.

Aldred Dreyer, Ilse Assmann and Mngani Mkhize formed the core of the Committee from SACIA’s side, working tirelessly with business events management company, Masiwela, to plan and mould the content into a format that would deliver the greatest value to attendees.

“We had representation and input from all of the various councils within SACIA and held weekly meetings with Masiwela and Kevan Jones to plan, promote, seek sponsorship and drive the conference,” says Ilse. “Mind mapping exercises with the councils to explore the theme were very useful and helped us to create sub-themes for the conference. Once the subthemes were in place, we could put out the call for presentations. The enthusiasm with which presenters agreed to participate, the quality of presentations, the number of delegates attending the conference, the execution (including the technology support in all the break-away rooms) and the fantastic feedback received afterwards, were everything we had hoped for.”

Positive feedback Delegate feedback, collected post-event, highlighted the superb quality of the presentations and the depth of information and content, with many asking for repeat sessions

“Kabelo and Danny K’s presentation was very good and very necessary.”

“I was too spoiled for choice.”

“I only wish that it took more than 2 days so that I could get more information and learn more. But apart from that, it was my greatest experience and it helped me to believe in myself and work hard.”

“The information I received at the Conference was priceless.”

“It was a fantastic networking experience.” or additional days, to allow them to attend more of the content streams which this year ran simultaneously.

The excellent headline presentation by Danny K and Kabelo Mabalane was particularly wellreceived as were the 4IR and IP Networks sessions, AI in broadcasting and the Youth & Technology components.

More information about the conference can be found at www.commtrend.co.za and attendees have access to all the presentations that were delivered.

A big thank you to our sponsors “The event could not have been such a resounding success without the support of our sponsors,” says SACIA Executive Director, Kevan Jones. “We would like to extend our heartfelt thanks to Sentech, Multichoice, Gearhouse South Africa, AVID, Jasco, Accenture, SGP, Cool Music Productions, the Academy of Sound Engineering, AUCOM SA and all of our speakers who contributed to the event.” • PLANNING FOR THE NEXT COMMTREND AT GALLAGHER ESTATES ON 9-10 OCTOBER, 2020 IS ALREADY UNDERWAY.

Kevan Jones Awarded Lifetime Achievement Award SACIA’s Executive Director, Kevan Jones was recently recognised for the tireless dedication that he brought to growing SACIA into the widely recognised and respected Professional Body that it is today.

He was awarded a Lifetime Achievement Award at the COMMTREND 2019 Conference which also marked the 10 year anniversary of the Association.

“With the approval of the full SACIA board and the other founder members, we decided that it was time to recognise Kevan’s dedication and hard work through a Lifetime Achievement Award,” explains Chairman of the SACIA Board, Stephen Motau.

Kevan, one of the Founder Members and the first Executive Director of the Association, is 10 |

credited with having almost single-handedly built the organisation’s brand to its present status. His vision for the Association has seen the establishment of various special interest groups under the SACIA umbrella, (TPSA, PRO AV, BIG, Content Creation, Event Safety, Student Council and Education), each with an individual mandate, but united in their drive towards the adoption of professional standards and ethical business practice in the communications industries throughout Southern Africa.

“The recognition of SACIA by SAQA and other government entities is largely due to Kevan’s determination and resilience,” says Stephen.

“In addition, many of the programmes he has implemented have vastly improved the Associations’ relevance within the Industry.

SACIA now has wide representation across the industry sectors, an office infrastructure, student engagement, international training partners, sponsorships and a number of professional designations available to its members. Kevan managed to achieve this largely through his own efforts with the support of the board and volunteers but with no official headquarters and often funded from his own resources.”

“Kevan is a visionary, innovative, determined, passionate and creative leader. Above all, he is trustworthy. We received a unanimous, resounding yes vote for him to receive the Award from our stakeholders,” says Stephen.

“Kevan has become a role model and mentor to many along the way and we would like to thank him for his unwavering dedication to the advancement of our industry.” •

MEDIATECH DELEGATE ATTENDANCE

CTO LUNCH

15 20

48 HOUR FILM FESTIVAL

24

AI

42

SASC BREAKFAST

47

GOV. AV FORUM

59

COPYRIGHT

64

YOUTH SYMPOSIUM

71

MEET THE TPSA COUNCIL

BY THE NUMBERS SACIA has been exhibiting at the advanced media and entertainment technology trade show Mediatech since the Association was established.

Each time the stand has increased in size, alongside our organisation’s growth. This year’s stand was particularly impressive, thanks to David Leverington from Above and Beyond who sponsored the show structure for us.

Diverse engagement “Affiliate associations, like the SA Society of Cinematographers, are always encouraged to share the SACIA stand space,” says SACIA CEO, Kevan Jones. “It increases foot traffic and promotes more diverse engagement. In 2019, we also hosted Christopher Lavelle, senior director of development from AVIXA’s EMEA office. This meant that visitors could gather information about both local and international designations, and benchmark our offering against an international equivalent.”

A constant stream of visitors visited the SACIA stand and there was a great deal of interest shown in SACIA’s professional designations.

During the SASC Breakfast on 19 July, we awarded several designations to young filmmakers.

Kopedi Aphane, Nkundla Tsolwana, Shakatsa Matcheke and Zuxole Ngetu, each received a Certified BCT Associate designation for their broad understanding of video production. In addition, Rick Joaquim was awarded the SASC designation for his deep understanding of the art, craft, science and technology used in modern cinematography.

Workshops In the Hospitality Suites up on the mezzanine level, an active SACIA workshop programme of 8 workshops over 3 days, also kept SACIA members very busy. Over 350 attendees participated in the workshops, with particular enthusiasm shown for the Youth Development component where 71 students and recent graduates shared their hopes and fears in relation to the future of the entertainment industry.

“Mediatech is perhaps the only trade show in South Africa that covers the three primary membership communities we have within SACIA; broadcast, AV and the technical production community” says Kevan.” It works for us because we get to speak to many of our members in one location and make sure that everyone is up-to-date with the latest developments at SACIA.” •

72 PROFESSIONAL DESIGNATIONS AWARDED IN 2019 During April 2019, SACIA ramped up its efforts to persuade more freelancers to apply for a professional designation to assist them in their careers. We launched an online portal allowing freelance individuals to register for assessment. The application included a comprehensive set of questions that formed a detailed picture of the skills and talents of individual applicants.

The portal was linked to SACIA’s social media platforms and was marketed aggressively by email as well. The result was an unprecedented 511 applications from individuals, more than 85% of which were either unemployed, or working as freelancers. Those in full-time employment or study were filtered out.

Employment sectors Applications were received from freelancers with a wide range of competencies, with the majority involved in film and video production.

Gender demographic Despite targeting predominantly

female

candidates via our Facebook advertising, 85% of our applicants were male and we were unable to solicit applications from more women.

Ethnic demographic 70% of individuals who submitted an application were Black African and 22%, White.

From the initial list of 511 applicants, 329 qualifying individuals were requested to provide additional information and a portfolio of evidence supporting their claim of competence, as well as a detailed CV, a copy of their highest academic qualification and a list of contactable references. Individuals being assessed for a designation in audio-visual and/or event technology were provided with links to an online multiple-choice examination, while those applying for a designation in cinematography were required to provide a link to their showreel.

178 individuals provided supporting documentation, with 20 applications subsequently withdrawn because the information was incomplete. Of the remaining

158 applications, 72 achieved their professional designations! We would like to congratulate those individuals on their achievement and commend them on their commitment to continuing professional development.

86 candidates did not meet the required standard and some knowledge–gaps were identified in the process. These candidates may rewrite the examination (before February 2020) and/or are invited to provide an expanded portfolio of evidence.

SACIA is in a position to deliver skills workshops to address the deficient competencies and help people prepare for the written exam. We are also able to run workshops to help individuals prepare a portfolio of evidence that supports their claim of competence. We encourage our prospective achievers to take advantage of these opportunities and wish our candidates the best of luck! •

511

329

RESPONSES QUALIFYING

178

158

72

RECEIVED

ASSESSED

AWARDED | 11

COUNCIL OF EVENTS PROFESSIONALS to become part of SACIA have a formal designation if they have the competencies required? We need to recognise the value of prior learning and provide for career paths within our industry.”

Melanie Sillince, CEPA Council Member says, “I believe that joining SACIA will accelerate our dream of certifying our industry, offering a platform for creating jobs and providing much needed skills transfer and development without it costing those who wish to professionalise themselves, time and large sums of money.”

The South African Communications Industries Association (SACIA) has announced that the Council of Events Professionals Africa (CEPA) will be reconstituted as a special interest group under the SACIA umbrella.

CEPA was established in 2014 as the events industry’s Professional Body to develop and award professional designations to individuals working in the events industry. Originally formed as a three-way partnership between the Exhibition and Event Association of Southern Africa (EXSA), the International Festivals and Events Association (IFEA) Africa and the Southern African Association for the Conference Industry (SAACI), the Council (CEPA) has broad buy-in from members of all three associations, and the CEPA Board members appointed by the founding associations will continue to oversee activities through their appointment to a governing council.

Establishing and implementing professional standards SACIA has been instrumental in establishing and implementing professional standards and ethical business practices across the Communications Industries for the past 10 years.

The journey has included the development and roll-out of professional designations for practitioners in the Audio-Visual, Broadcast and Live Events sectors – traditionally areas in which experiential learning is more prevalent than formal qualifications. SACIA’s objective is to provide clearly defined career pathways for individuals working in these areas, to encourage a commitment to lifelong learning, and to protect the public against unethical and/or unprofessional behaviour from certified members.

New professional designations to follow Along with the professional designations already available, SACIA will now proceed to develop and register new professional 12 |

designations for the Event Management sector as well. This will provide for a formal recognition of competencies for professionals working as Event Co-ordinators, Event Managers and Event Directors, including related service providers across both small- and large-scale events in southern Africa. The events industry includes conferences, exhibitions, festivals and awards functions but also extends to weddings, funerals, sports days, social excursions, fund-raising events and much more. The baseline standard outlined in the various Professional Designation levels can be applied to all industry professionals working in the events industry, thereby creating new opportunities for individuals who may have been marginalised and/or denied access to commercial opportunities in the past.

Events practitioners will soon be able apply for a designation to suit their level of expertise by submitting the relevant documentation and undertaking an online competency assessment through SACIA. Demonstrable proof of competency affords their clients’ peace of mind, knowing that they will receive a professional standard of delivery.

Enhanced value for all stake-holders “This is a fast-growing industry and we are excited to be moving forward with SACIA’, says Sue Gannon, ex GM of EXSA and now Chair of the Skills, Certifications, Ethics and Disciplinary Committee for CEPA. “Many of the people working in the events industry do not have a formal qualification but they’ve built up their core knowledge by attending short courses and learning on the job. Why should they not

According to Glenn van Eck, CEPA Council Chairman, the pioneering work done by the Board of CEPA has created a wonderful foundation for its successful incorporation under the SACIA umbrella. “At the end of the day, our primary objective is to give events customers a greater opportunity to be assured of world-class delivery for their investment in professional businesses. It will also provide an opportunity for first-time entrants into the industry to be exposed to the knowledge and experience of mentors in the Events Industry and enable them to fast track their expertise as a new generation of event professionals."

Unified voice The merger with CEPA positions SACIA for coverage across the full spectrum of the events industry – including technical, operations and management, and opens up opportunities for SACIA members to tackle new challenges and prepare for industry advancements with a unified voice. The Association’s expanded structure will deliver enhanced value to all its stakeholders across the broader events industries, including live sound, audio-visual, event safety, cinematography, outside broadcast operations, lighting design, film and television, content creation and events management.

“Incorporating CEPA into our existing SACIA structures will allow us to expand our footprint and deliver real value to all stakeholders working in the events industry, from event organisers through to the technical crew responsible for turning dreams into reality,” concludes SACIA executive director Kevan Jones. “It’s about an entire industry sector coming together in the shared pursuit of excellence.” •

“Our primary objective is to give events customers a greater opportunity to be assured of world-class delivery for their investment in professional businesses.”

Glenn van Eck, CEPA Council Chairman

WHAT DOES 4IR MEAN FOR US in the Communications Industries?

The 4th Industrial Revolution is a term widely used in the Communications Industries sectors but what does it actually mean for us and our work environment?

4IR sees us evolving out of the digital revolution into an environment of cyber-physical systems where technologies like Advanced Robotics (robotic tools with enhanced "senses�, dexterity, and intelligence), Virtual Reality (creation of a simulated environment using computer technology), Artificial Intelligence (simulation of human intelligence processes by machines, especially computer systems including learning processes, reasoning and self-correction) and the Internet of Things (computing concept describing the idea of everyday physical objects being connected to the internet and identifying themselves to other devices) are changing the game for businesses and forcing us to re-evaluate our strategies for our businesses, lifestyles and learning paths.

One big information system It is estimated that the break-even point between machine and human-driven work

1760-1820

will be reached around 2025, and that as the physical world becomes one big information system with ambient intelligence, our job functions will shift radically. In terms of the business services sector, advanced automation will decrease the need for job positions such as telemarketers, legal clerks, rental clerks, cashiers and tellers. On the opposite side of the spectrum, there will be added opportunities for those in roles such as AI and machine-learning specialists, programmers, analysts, designers and project managers. It is anticipated that the use of freelance and consulting services will also grow as teams collaborate remotely on a per project basis.

Upskill for the opportunities In the communications and technology services, we are well placed to ride the wave as long as we take advantage of the extra time that automation affords us to innovate, develop more effective processes and hone strategic thinking. We need to consider how we can grow the skills that are increasingly needed in the technological sphere. While machines might take over the data crunching aspects of our jobs; it will be up to us to consider how

1820-1900

1900s

to reapply the essential skills needed for the human-to-human element, leadership skills and creative elements to fill the gaps that will be left in a cyber-physical environment.

In line with SACIA’s stance on life-long learning, we encourage individuals to continually upskill themselves, to look out for the young talented industry entrants and to offer them opportunities via mentorship, work integrated learning and internships to fulfil the new solution-driven roles as they emerge.

With more out-sourced team collaboration and remote work, the need for stringent standard compliance, on all levels, will also intensify. As remote recruitment methods gain traction, along with the risks to the employer, the proof of competence via professional designations and a demonstrable commitment to a code of ethical conduct becomes even more significant. •

Today | 13

SASC celebrates Visible Spectrum winners The South African Society of Cinematographers, (SASC), is a principal member of SACIA. The society has been in existence since 1954 making it the oldest film industry society in SA (the 3rd Cinematographer’s in the world).

The biennial SASC Visible Spectrum Awards held by SASC recognises and rewards the highest levels of excellence in Cinematography currently active in the film industry, as well as paying tribute to all the excellent film technicians who have played a pivotal role in the growth of the industry in previous years.

The 2019 winners were celebrated at a glamorous ceremony held at Stark Studios in Randburg on the 14th September.

“These Awards are dedicated to the vision of the founder members of the SASC and to the current South African cinematographers who are carving a name for themselves both locally and abroad.

We fervently support the steadfast professionals who ensure a commitment to producing the highest quality images and look forward to the work of all the young up and coming Cinematographers who are making names for themselves in this highly competitive industry: the brave talent meeting the challenges of ever changing technology, demanding creative energy and the constantly shifting ‘cuttingedge’ .” – SASC. • "Hunter Killer".

AND THE WINNERS ARE:

14 |

Tom Marais - Best Cinematographer.

BEST STUDENT

Louise Kathleen van der Merwe

"Simply Ben"

Silver Certificate

SASO

Adi Visser

"Strike Back"

Certificate

ALTERNATIVE

Rick Joaquim (SASC)

"Makeup is Art"

Silver Certificate

MUSIC VIDEO

Justus de Jager

"NGWA - Blick Bassy"

Visible Spectrum Award

DOCU/SHORT FILM

Warren Smart

"Mafia Fisheries"

Visible Spectrum Award

WILDLIFE

Boris von Shoenebeck

"Madagascar - Africa's Galapagos"

Visible Spectrum Award

TV DRAMA/SHORT FILM

Jamie D Ramsay (SASC)

"Beast"

Visible Spectrum Award

COMMERCIAL CORP

Willie Nel (SASC)

"Outsurance - Linda"

Visible Spectrum Award

COMMERCIAL PROD

Eugenio Galli (SASC)

"Chicken Licken - Bootless Bandit"

Visible Spectrum Award

FEATURE FILM

Tom Marais (SASC)

"Hunter Killer"

Visible Spectrum Award

BEST CINEMATOGRAPHER

Tom Marais (SASC)

"Hunter Killer"

Visible Spectrum Award Trophy

STEWART FARNELL AWARD

Fanie van der Merwe (SASC)

Farnell Trophy

2009

10 YEAR ROADTRIP

JUNE 2009 First SACIA meeting convened at Teljoy Business Systems in Midrand with support from InfoComm International. Task group established.

2013

OCTOBER 2009

MAY 2013

Appointment of founding Board, with Kevan Jones appointed Executive Director.

2010

2015

500TH

Establishment of Broadcast Industry Group (BIG) under leadership of Nic Bonthuys.

PARTICIPANT

FEBRUARY 2015 Recognised by SAQA as Professional Body able to award professional designations in the broadcast and audio-visual industry.

NOVEMBER 2013 Heena Jivan from UKZN’s IT department is 500th participant in SACIA training.

JANUARY 2010 Delivery of first InfoComm GEN111 training course. 191 members attend specialist AV training in our first two years of operation.

2014

JUNE 2010 Gary Atkins elected as first Board chair.

JUNE 2015 Bruce Schwartz elected first chair of the TPSA Council.

2012

APRIL 2014 Introduction of online voting for SACIA Board and Council elections.

JANUARY

JULY 2015

Deliver first IABM training course for broadcast industry.

JUNE 2014 NOVEMBER 2014

SA

TPSA constituted as special interest group within SACIA.

CI

PR

2016

55%

BOARD ELECTIONS

OFE

SSION

A

FEBRUARY 2018

MAY 2016 55% of eligible voters cast their vote in 2016 Board elections.

A CERTIF

L

Wynand Langenhoven elected as third Board chair.

D

OCTOBER 2012 Introduction of SACIA Code of Business Conduct – developed with Ethics Institute of South Africa.

IE

JUNE 2012 Bruce Genricks elected as second Board chair.

Abrie du Plooy (Electrosonic) first person to be awarded the SACIA Certified AV Professional designation, while Ade Badenhorst (Multichoice) is first person to be awarded the SACIA Certified BCT Professional designation.

2018

Charles Badenhorst from Bittevrug Animation becomes the 1000th participant in SACIA training.

SACIA STUDENT COUNCIL

1000TH

PARTICIPANT

FEBRUARY 2019 Launch of SACIA Student Council

JUNE 2016 Natalie Delport elected as fourth Board chair.

MAY 2018 Wynand Langenhoven elected chair of ProAV Council.

JULY 2016 Sign international affiliate agreement with Event Safety Alliance.

APRIL 2019 Partnership with MICTSETA to award professional designations to the freelance community

MAY 2018 Wayne Susman first person to be awarded the SACIA Certified TLE Professional designation for deep knowledge of the science and technology used in the theatre and liveevents industry. .

2017

2019 156

PEOPLE TRAINED

JUNE 2019 Sharif Baker elected as TPSA Council chair

JUNE 2018 Stephen Motau elected as fifth SACIA Board chair.

DECEMBER 2018 156 people attend broadcast industry training during 2018

JUNE 2017 Mark Malherbe elected chair of TPSA Council.

AUGUST 2018 SACIA signs MOU with Tshwane University of Technology

JUNE 2018

JUNE 2017 Tinus Smit elected chair of BIG Council.

DECEMBER 2017

Southern African Broadcasters Association (SABA) becomes sixth body to sign formal affiliate agreement with SACIA. Expands SACIA footprint into SADC region.

SASC Professional Cinematographer recognised by SAQA as Professional Designation.

JULY 2019 Aldred Dreyer elected chair of the Broadcast Industry Council

AUGUST 2018 New SACIA office inside the Ticketpro Dome

SOUTHERN AFRICAN BROADCASTING ASSOCIATION

JULY 2017 SAQA recognise SACIA Certified TLE designations for the theatre and live events industry.

| 15

ALFRED MBULELO NDABAMBI

The Madala of South African Stage Crews

by Claire Robins Alfred Mbulelo Ndabambi, is affectionately known as Alfie by many of his colleagues in the Theatre and Events industry. He was born on 12th of June 1947 in the town of Ugie in the Maclear district of the Eastern Cape. There were four boys and four girls in the Ndabambi family and amongst them, three of the boys; Patrick, Sipho and Alfie, would eventually find work in the theatre.

In 1957, with a large family to take care of and few job opportunities in the Eastern Cape, Alfie’s father left the family in Ugie and decided to try his luck in Johannesburg. Before long he found employment as a permanent driver with Rennies Travel.

In the meantime, Alfie was attending Primary school in Ugie and later moved on to continue his High school education in Matatiele, situated in the mountainous region bordering Lesotho. During school holidays he travelled to Johannesburg to visit his family and would often tag along with his brothers, curious to see what happened in the theatre where they worked.

Towards the end of his education, Alfie was enrolled in a Boarding School in the Eastern Cape town of Tsolo and at the age of twenty one, he finally left school and moved to Johannesburg.

His brother Sipho was working with Academy Theatre Productions on ‘The Boy Friend’ a musical production, which was being staged at the Brooke Theatre. Left with no crew to work on the productions being staged at the Academy Theatre, Company Manager, Tim Heale was looking to hire extra crew members, so brother Sipho introduced Alfie to him and thus Alfie’s lifelong career began.

Academy Theatre At the beginning of the 1970s, the shows being staged at the Academy Theatre were a series of well-known farcical comedies, originally staged at the Whitehall Theatre in London. The South African productions were directed by British actor Rex Garner, who also starred in the plays.

In 1972 Alfie was then hired to join the crew for ‘Ko Ko Sai’, a Japanese revue being staged at the Colosseum Theatre in Commissioner street, which subsequently went on tour to Durban and Cape Town. During the Johannesburg run, there was talk around town about a new musical that was in production. It was of particular interest because it was a South African story destined to be performed by an all-black South African cast.

Curious to know more about it, Alfie went along to watch a rehearsal, Originally called ‘The Warrior’, the title was changed to ‘Ipi Tombi’ and eventually became a worldwide hit for producers Bertha Egnos, Phil Godfrey and Bertha’s daughter Gail Lakier.

Ipi Tombi When he came back to Johannesburg at the end of the ‘Ko Ko Sai’ tour, Alfie got in touch with Staging boss Steve Collins, whom he had met whilst he was working for the Academy. As it turned out, ‘Ipi Tombi’, which was still running at the Brooke Theatre, was booked to go on an international tour, but the Johannesburg production had been so successful that the producers decided to put together a second company and take it on tour around South Africa. Once again, an additional crew was required for the second show and Steve proposed that Alfie join the crew and take over the ‘running of the corner’: a responsibility never entrusted to a Black crew member before. During the apartheid years, black members of staff were rarely allowed backstage, but in this case the entire show was promoted as having an ‘All African cast’, so Alfie effectively became the Stage Manager for this touring production.

They toured throughout the country with a stopover in Lesotho and ended the run in Bloemfontein. Owing to the huge success that ‘Ipi Tombi’ was receiving internationally, company number two was also sent on an international tour, and yet a third company was formed to continue the run locally with a stint in Zimbabwe.

It was for this show that Alfie took on his first experience in an acting role.

Kevco Studios When the show finally ended, Alfie dropped into Kevco Studios, the set building company owned by Kevin Maybury and his former mentor Steve Collins. It was 1981 and he first started doing casual work with Kevco, at which time the company was busy constructing the stage for the new Superbowl at Sun City, as well as constructing sets for various theatre productions being staged.

By 1982 he had become a permanent employee, working on sets for the wide variety of shows that Kevco was contracted for including the sets for the newly opened Extravaganza Theatre at Sun City. During this period Kevco began working with Johann Kruger, the Audio Visual genius who was producing product and car launches in the ground-breaking form of Industrial Theatre through his company Multivisio. In 1986, Kevco

was bought out by Multivisio and Alfie continued working with the company until that too closed in 1993.

Just Sets Alfie then decided to retire and Steve asked him how he would manage and what he would do with his time. Alfie had bought a townhouse in Naturena and told him that he had realised there was an opportunity in the area to open a Tuckshop, as there were no shops or amenities close by. He had seen a second-hand caravan for sale that would serve the purpose perfectly.

The price was R 4,500, so Steve bought it for him. Before long Alfie realised that he didn’t have enough space to keep the caravan secure, so he decided to give up the tuckshop and went back to work part time for Colin Fowler and Chris Hicks of Just Sets.

Then Alfie got a call from Helen Surgeson of Gearhouse, head of Emperors Palace technical services for their theatre. She asked him to come and help out at the theatre as they needed someone to work as Flyman on a freelance basis.

Joburg Setco Once his services at Emperors Palace came to an end, he was offered a full time job at Joburg Setco; a set building company, run by Morgan Bevan and his old boss from the Kevco days; Kevin Maybury.

This was in 2003 and he stayed with them until 2012, when Alfie decided it was time to cash in his provident fund.

Gearhouse -SDS Yet again however, retirement was not to be and the following April, he got another call from Steve Collins, who was working with Sets Drapes Screens, a Gearhouse Group Company specialising in set construction. He told Alfie that SDS MD, Pieter Joubert, needed someone experienced to work on set-covering.

Over the years, Alfie worked for all the top set building and staging companies in South Africa on a vast number of projects from theatre productions to major events. He was trained by the best in the business, on presentations for the most eminent designers and producers, including world renowned AV guru Johann Kruger to Theatre Designer extraordinaire, Tony Farmer.

Finally, at the age of 72 Alfie has decided to say farewell to an industry that has served him well over the years.

Enjoy retirement Alfie and Hamba Kahle… •

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 Stephen Motau. Board members include Ilse Assmann, Tinus Smit, Roman Magis, Wynand Langenhoven, Sharif Baker and Abrie du Plooy. 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 16 |