Quadrennial Periodic Report
Afrique du Sud 2022

Quadrennial Periodic Report - cleonn - 02/28/2020 - 11:15

Informations générales

Informations techniques

Nom de la Partie (Pays): 
Afrique du Sud
Date de ratification: 
2006
Point de contact national de la convention désigné officiellement: 

QPR Stakeholder

Titre: 
Ms.
Adresse: 
Department of Sport, Arts and Culture
202 Madiba Street
Sechaba House
Pretoria Central
Pretoria
0002
South Africa
Numéro de téléphone: 
+27124413739
Email: 
CleonN@dac.gov.za
Décrivez le processus de consultation multipartite établi pour la préparation de ce rapport, y compris les consultations avec les ministères, institutions publiques, gouvernements locaux et organisations de la société civile pertinents. : 

Wits University’s Cultural Policy and Management Division provided the required support with the drafting of South Africa's Quadrennial Periodic Report (QPR). This was based on the model developed by UNESCO through their SIDA project to support countries in preparing their QPRs in 12 countries.
The national contact point, which is the Department of Sport, Arts and Culture, invited representatives of government departments, industry associations and civil society to a national meeting held on 17 August 2017. The purpose of this consultative meeting was to inform industry stakeholders of the intention to prepare the 2nd QPR, deliver the QPR Training workshop for a national team and to begin the awareness raising activities for the 2005 Convention with arts and culture representatives from public bodies, academia, the media and civil society.
The 3-day QPR training workshop was held from 20 – 22 September 2017 with a national team made up of representatives from various industry organizations, civil society, academia and government departments. The training followed the UNESCO toolkit on the QPR. The QPR preparation team used information, examples, sources and documents gathered at the workshop as a basis for further research.

Résumé exécutif: 

The Department of Sport, Arts and Culture, as the lead organization responsible for the activation of the Convention, has adopted a series of strategies, although not all is a direct response to the 2005 Convention. Notably the Mzansi Golden Economy (MGE), which is the most recent strategy to deal with all aspects of the creative and cultural value chain. MGE seeks to establish an enabling environment for the growth and sustainability of cultural industries in South Africa. Over the period of its implementation, this strategy has achieved great success in supporting cultural events, the establishment of the South African Cultural Observatory (SACO) and support for touring ventures nationally and internationally.
It is clear that more advocacy and awareness raising about the 2005 Convention is needed within government, civil society and the private sector but also more broadly in society as a whole. In addition, going forward, the development of projects and programmes inspired by the 2005 Convention needs more consideration. This QPR therefore reports on those areas that most clearly align with the principles and intentions of the 2005 Convention or were informed by the 2005 Convention.
The 2005 Convention informed the Social Cohesion and Nation Building Strategy of the Department of Sport, Arts and Culture. The strategy defines Social Cohesion “as the degree of social integration and inclusion in communities and society at large and the extent to which mutual solidarity finds expression among individuals and communities”. This is further linked to nation formation, in turn understood as a process whereby members of a society from diverse origins, histories, languages, cultures and religions come together within the boundaries of a sovereign national state with a unified constitution and legal dispensation, a national public educational system, a shared economy and shared symbols and values, to work for the eradication of divisions and injustices of the past by fostering unity through the promotion a country-wide consciousness of being proudly South Africa. These precepts are also included in the National Development Plan: Vision 2030 (2011) in the Chapters of the Plan dealing with education, skills development, the role of technology and the call to further transform and unify a society still inflicted with inequalities and divisions inherited from the past.
The broadcasting landscape in post-apartheid SA has changed significantly to support an open and democratic society - we have a three-tier system of broadcasting, comprising public, commercial and community broadcasters. There are 16 licensed television operators delivering television services across more than 170 channels to an audience of around 40.1 million people and over 250 licensed radio stations with a weekly audience of around 33.2 million people. In 2008, SA approved the Digital Migration Policy, which set out parameters of migrating the country's broadcasting from analogue to digital in line with international trends. This policy was amended in 2013 to extend the deadline for the migration and include technical requirements for set-top boxes as a transitional measure to convert the transmitted digital terrestrial television signal to analogue. Digital Terrestrial Television will for the first time bring the many benefits of digital technology to terrestrial TV audiences. This means vastly improved video and audio quality, many more channels and a host of value added services.
In South Africa, the Constitution and society give the media extensive freedoms. In turn, media organisations have a responsibility to use these freedoms responsibly and in accordance with the Constitution. The media has a responsibility to give adequate space to the voiceless and the marginalised, without which informed public discourse is not possible. The media plays a critical role in nation building and building non-racialism and non-sexism. They also play a role in building an informed, educated and critically engaged citizenry and in holding government to account. These are critical for democracy to function. Legislation does support the electronic media in promoting progressive values. However the legislative and policy regime has become outdated and narrow, given changes in technology and media platforms. The broadcasting policy review process (undertaken by the Department of Communications) must ensure that the mandate to build the nation and promote constitutional values is strengthened.

Coordonnées des parties-prenantes impliquées dans la préparation des rapports périodiques quadriennaux (RPQ). Veuillez inclure les coordonnées des organisations de la société civile (OSC) ayant contribué à la rédaction des RPQ, y compris via le formulaire des OSC.: 
Type d'organisationOrganisationEmailSite web
Organisation de la société civile (OSC)
Southern African Youth Movement (SAYM)
inf@saym.co.za
Secteur public
National Film and Video Foundation (NFVF)
info@nfvf.co.za
Secteur public
National Arts Council (NAC)
info@nac.org.za
Organisation de la société civile (OSC)
Association of Independent Recording Companies (AIRCO)
Organisation de la société civile (OSC)
Gauteng Organization of Community Arts and Culture Centres (GOMACC)
Organisation de la société civile (OSC)
SA Book Development Council
Organisation de la société civile (OSC)
Moshito
Organisation de la société civile (OSC)
Arterial Network South Africa (ANSA)
Organisation de la société civile (OSC)
ASSITEJ South Africa
Organisation de la société civile (OSC)
National Association of Broadcasters (NAB)
Organisation de la société civile (OSC)
South African Screen Federation (SASFED)
Secteur public
South African Cultural Observatory (SACO)
Secteur public
Department of Communications and Digital Technologies
Organisation de la société civile (OSC)
Visual Arts Network of South Africa (VANSA)
Secteur public
Department of Small Business Development
Secteur public
Department of Higher Education and Training
Secteur public
South African State Theatre
Department of Sport, Arts and Culture

Objectif 1 - Soutenir des systèmes de gouvernance durable de la culture

Secteurs culturels et créatifs

Un ministère (ou une agence avec un statut ministériel) est responsable des secteurs culturels et créatifs: 
OUI
Des administrations ou des gouvernements régionaux, provinciaux ou locaux disposent de responsabilités décentralisées en matière de politiques et de mesures pour la promotion des secteurs culturels et créatifs: 
OUI
Des cadres réglementaires, des lois, des politiques et/ou des stratégies sectorielles soutenant les industries culturelles et créatives ont été révisés ou adoptés durant ces 4 dernières années: : 
OUI
Si OUI, l’un de ces instruments a-t-il été élaboré grâce à des mécanismes de coopération interministérielle (incluant différents ministères compétents dans des domaines tels que la communication, l’éducation, les Technologies de l’Information et de la Communication (TIC), le commerce, les affaires étrangères, le travail, les finances) ?: 
OUI
Des programmes éducatifs et de formation spécifiques au domaine des arts et aux secteurs culturels et créatifs sont établis, incluant: 
Cinéma/Arts Audiovisuels
Gestion culturelle
Design
Arts numériques
Arts médiatiques
Musique
Arts de la scène
Édition
Arts visuels
Cinema/audiovisual arts
Gestion culturelle
Design
Musique
Arts de la scène
Arts visuels
Des mesures et programmes spécifiques ont été mis en œuvre durant ces quatre dernières années pour: 
Support job creation in the cultural and creative sectors
Encourage the formalization and growth of micro/small and medium-sized cultural enterprises
Des bureaux statistiques et des organismes de recherche ont produit des données durant ces 4 dernières années: 
related to cultural and creative sectors
Part des secteurs culturels et créatifs dans le Produit Intérieur Brut (PIB): 
1.70%
2018
Si possible, veuillez fournir des données ventilées par secteurs: 

Cultural & Natural Heritage - -2.4% Performance & Celebration - 3.4% Visual Arts & Crafts - 5.3% Books & Press - 3.1% Audio-Visual & Interactive Media - 5.2% Design & Creative Services - 0.3% Transversal: Cultural Education - 5.9%

Part de l’emplois dans les secteurs culturels et créatifs: 
7.03%
2018
Si possible, veuillez fournir des données ventilées par secteur, âge, sexe et type d’emploi: 

Employed in creative occupations in creative industries - 0.57% Employed in creative occupations in other industries - 2.2% Employed in support occupations in creative industries - 4.26%

Politiques et mesures pertinentes: 

The BASA Education Programme

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Business and Arts South Africa
Décrivez les principales caractéristiques de la politique/mesure: 
Business and Arts South Africa’s (BASA) Education Programme is part of the commitment to developing innovative educational programmes that seek to ensure the relevance and sustainability of the arts in society. The three-tier BASA Education Programme aims to address the strategic thrust to development and support of the arts:  BASA Basics: This programme is aimed at arts organisations and individuals wishing to start a for-profit or not-for-profit organisation. This is a six month long programme that is for arts organisations at the start up level. The programme aims to introduce emerging artists to the legal registration options and processes available in terms of establishing an arts organisation, and further develop arts organisations to come out with a workable business model in order to take the organisation forward.  BASA Dynamics: This programme is aimed at registered arts organisations with a basic business model and plan. This year-long programme is for arts organisations at the intermediate level and it has been rolled out in 5 provinces. The intention for the intermediate programme is to focus on the strategic objectives developed from the overall strategic business model/plan and delve into specific areas of the business plan needing further strategy and focus.  BASA Established: This programme is aimed at arts organisations that have been in operation for a couple of years but are faced with strategic organisational challenges. This year-long programme challenges their way of thinking in terms of generating income and creating innovative business models to ensure long-term sustainability The three tiers of the Education Programme comprise a series of workshops. The skills learnt during these workshops will equip arts organisations with necessary tools to run sustainable arts organisations. The Dynamic and Established programme are for registered organisations and deal with aspects of strategy, marketing, market development, operations, finance, and governance. The Established Programme includes a mentorship component to supplement the workshop information.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
 BASA Basics: Registration of organisations / companies Access to funding and sponsorships Help delegates / organisations to have their taxes in order  BASA Dynamics: Arts organisations to have benefitted from expert advice and guidance of professional business mentors and facilitators towards better positioning of their organisations to access funding, drive audiences, market themselves and continue to serve their communities.  BASA Established: Organisational development Increased funding and audiences
Ressources financières allouées à la politique/mesure en dollars américains: 
2014:R 1 716 000 ($145134,56) 2015: R1 215 962 ($103551,32) 2016: R855 537 ($72857,53)
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Oui
Si oui, quelles sont les principales conclusions/recommandations ?: 
BASA Basics was rolled out nationally from 2014: 79 delegates have registered their organisations/companies; 39 were able to access funding and sponsorships; and 50 have their tax clearance in order. Delegates in Cape Town, Johannesburg and Bloemfontein have already moved on to participate in the BASA Dynamic Education Programme.
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
National Arts Council (NAC)
Type d'entité: 
Secteur public
Nom du partenaire: 
Rand Merchant Bank (RMB)
Type d'entité: 
Secteur privé
Nom du partenaire: 
National Lotteries Commission (NLC)
Type d'entité: 
Secteur privé
Nom du partenaire: 
British Council (BC)

MOSHITO Music Conference and Exhibition

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
MOSHITO Music Conference and Exhibitions (NGO)
Domaines culturels couverts par la politique/mesure: 
Musique
Décrivez les principales caractéristiques de la politique/mesure: 
The purpose of Moshito’s music conference and exhibition (held annually in Johannesburg, South Africa) is to broaden the business intelligence of music industry professionals in Africa, strengthen business networks for participants and inform delegates, traders and the public about the multifaceted and dynamic nature of the global music industry. In addition, Moshito seeks to be the largest employer of creative workers during Moshito conference and exhibition and to add value to the City of Johannesburg. Moshito’s scope covers the local, regional, national and international levels: The scope is local, regional and national in that Moshito is registered in South Africa, operates out of Johannesburg where it hosts the conference and exhibition and has sub events in the regional economy of Gauteng. Its reach is international as a core focus of its work is to partner with music markets on the continent and internationally. They now have 16 music markets that have signed a memorandum of agreement to share skills (administration and expertise), and create opportunities for artists and creative workers.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
NON
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
• Memorandums of agreements with major music markets throughout the globe (they have increased from 6 to 16 in a few years and constantly seeking new partnerships). • Opportunities for members, musicians who attend the music markets each year (5 specialists and 3 bands to each of the 16 music markets). • The reestablishment of Moshito as the premier music market on the African continent • Supporting music festivals in South Africa: currently focused on gospel music with a festival in Ekurhuleni Municipality (in Gauteng province) in partnership with radio station Ukhozi FM. The aim of the festival is to promote the best musicians in popular contemporary gospel music culture while at the same time showcasing and placing value in aspiring and emerging talents that give a voice to the next generation of rising stars in the gospel genre in a family oriented children friendly picnic style environment. • Attract leading music specialists and industry practitioners internationally and nationally. Over 90 international delegates and artists have attended Moshito in the last 3 years, comprising music practitioners, festival promoters, print and radio journalists / presenters, bloggers as well as the International Music Managers Forum. Moshito has, in the past three years introduced live concerts and festivals as part of growing the base for artists performance. • In 2015 Moshito introduced a youth festival comprising of Kwela music, BubbleGum, Afro-Pop, Kwaito, Hip-Hop and other defining music genres such as traditional music and Gospel. It booked a total 62 artists. • Over and above the concerts and festivals mentioned above, Moshito showcased a total of 25 emerging artists (Conference Day Time Showcases = 8, and Braamfontein Evening Showcases = 17). A total of 87 principal artists/groups, and engaging 136 backing musicians/vocalists, were secured and procured for Moshito 2015.
Ressources financières allouées à la politique/mesure en dollars américains: 
2016 = R6m ($363 060,00)
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
AIRCO (local producers)
Type d'entité: 
Organisation de la société civile (OSC)
Nom du partenaire: 
SAMRO (Composer’s collecting society)
Type d'entité: 
Organisation de la société civile (OSC)
Nom du partenaire: 
SAMPA (music promoters)
Type d'entité: 
Organisation de la société civile (OSC)
Nom du partenaire: 
Regional musicians
Type d'entité: 
Organisation de la société civile (OSC)

Organisational Funding Support

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
National Arts Council
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Design
Arts numériques
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
The period 2015 - 2018, the NAC launched a number of flagship projects, across its different disciplines that will significantly raise the profile of arts and culture in South Africa. These projects combine innovation, the leveraging of finances, contributions in kind and focused execution to deliver value in line with the NAC’s overall mandate. The objective of this measure is to support the mandate of the NAC by focusing on the following strategic priorities:  Support transformation and redress in the arts.  Contribute to job creation in the arts.  Contribute to the sustainability of arts organisations.  Improve the geographic spread of grant funding allocations.  Support growth and development in the arts.  Support artistic innovation and work relevant to the South African context
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The results expected through the implementation of the measure includes the promotion, enjoyment and development of the arts through the following values: • Economic value • Creative value • Social value • Environmental value • Creation value • Educational value • Therapeutic value
Ressources financières allouées à la politique/mesure en dollars américains: 
The budget allocation towards the measure is approximately R23m annually
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
All eligible organizations working in the arts and culture sector that benefit from NAC funding.

Craft and Design Institute

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Craft and Design Institute
Domaines culturels couverts par la politique/mesure: 
Design
Décrivez les principales caractéristiques de la politique/mesure: 
The Craft and Design Institute is the national craft and design sector development agency with a mission to develop capable people and build responsible creative enterprises trading within local and international markets. It is the official implementing agency for the sector in the Western Cape Province and was identified as a model craft and design hub by the national Department of Trade and Industry, serving as a role model for creative industry development in other provinces of South Africa. The Craft and Design Institute works with craft producers, designers and a wide range of other creative entrepreneurs with a focus on three main programmes:  Product Support Provides an environment in which designers and craft producers can further develop their existing products or prototype new products.  Business Support Helps craft producers and designers to develop skills in creativity, business and production management, and marketing.  Market Support Assists designers and craft producers to define and reach their targeted markets.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
1. Design-ready businesses To ensure sectors of the economy and civil society integrate design into their business and organisational practices to unlock innovation, competitiveness and progress. 2. Business-ready design practitioners To establish an enabling environment that supports a thriving design ecosystem and a competitive design industry. 3. Design in the public sector To ensure the transformation of a public sector into one that embraces design and design-thinking methodology in policy formation and practical implementation across all spheres and tiers of government. 4. Involved citizens To create public awareness and appreciation as to the value of design in every aspect of our lives, in particular towards socio-economic upliftment and a better quality of life for all.
Ressources financières allouées à la politique/mesure en dollars américains: 
The 2011/2012 Annual Report notes a budget of R15m ($1,28m) with an allocation of R14.5m ($1,23m) over 3 years (2012-2015) from the R9bn ($0.77bn) National Treasury’s Jobs Fund. The total fund allocation included a 20% own –contribution of R2.9m ($0,25m) from the participating companies.
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
However the 2011/12 Annual Report notes: • Three core programmes were expanded in the areas of Product, Business and Market Support, which are supported by Rural Outreach and Communications and Sector Promotion activities. There is now a broad network of services available to help craft producers and designer makers – across the entire province – in all aspects of business management, creative development, production and marketing. In 2011/12 1300 enterprises were supported with business, market and product support, and craft producers generated R4.2 million ($0,36 m) turnover through the CCDI. • The CDI fulfilled orders worth over R2.4 million ($0,2m), providing work opportunities for 308 enterprises. The COP17 Climate Change Conference was particularly significant for the organization as: 15,000 bags, water bottles and other gifts worth over R1,6-million ($0,14 m) were made for the conference and 266 top-end craft pieces were sourced for an exhibition worth R0,5 million ($0,043 m). • Developed an e-Catalogue to reach specific market segments with suitable craft products. A new software programme and retailer database provides valuable information and a solid foundation to better target customers. • Over 300 craft producers took part in eight domestic and six trade events. Their hard work resulted in sales of over R932 000 ($79469,12) and orders worth over R260 000 ($22 141,6). • The Creative Enterprise Training Unit, supported by the Culture, Arts, Tourism, Hospitality and Sport Sector Education and Training Authority (CATHSSETA), achieved the following results: − Business and creativity workshop programmes have been integrated and the individual business assistance programme expanded. The CDI now offers business mentoring and group coaching, resulting in more strategic visioning and targeted market reach. − Professional Group meetings have drawn together craft producers working in similar or related media – this has proved to be a great way to network and exchange ideas. − Offered counselling and referral services to 42 enterprises, individual business assistance to 121 enterprises, with 1174 craft producers attending workshops.
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
In 2012 the Western Cape Government’s Department of Economic Development and Tourism (DEDAT) collaborated with the CDI
Type d'entité: 
Secteur public

National Book Week

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
South African Book Development Council
Domaines culturels couverts par la politique/mesure: 
Edition
Décrivez les principales caractéristiques de la politique/mesure: 
National Book Week is a national awareness campaign to promote the importance of reading and the role that a book plays in building the nation. The SA Book Development Council, in partnership with the Department of Arts and Culture, runs the annual campaign. The campaign aims to engage the public and create awareness around the critical role books play in South Africa’s development so that more people can take action in getting South Africans reading. NBW is a strategic intervention to promote a reading culture that will enhance the prominence and socio-economic impact of the South African books sector both locally and globally.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
Results expected through the implementation of the measure includes: • Improving imagination • Increasing intelligence • Boosting brain power • Building vocabulary • Increasing productivity • Improving cultural diversity and social cohesion • Economic empowerment
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Oui
Si oui, quelles sont les principales conclusions/recommandations ?: 
The National Survey into the Reading and Book Reading Behaviours of Adult South Africans (2016) determined that reading is critical to fulfilling individual potential and collective social development as: - The degree to which children acquire language skills is a strong predictor of future academic success, educational attainment, employment and income. - Reading is a powerful tool to tackle poverty and inequality: when children read for pleasure, it has a greater effect on their educational achievement than their family’s socioeconomic status. - Reading ability and comprehension promotes social cohesion and innovation by building empathy, critical thinking and imagination. The survey reinforced the importance of reading grounded on five broad strategies: 1. Promote reading for enjoyment to adults, youth and children 2. Increase access to books and stories 3. Promote indigenous language reading and books 4. Implement a coherent book development strategy Increase the importance of books in South Africa 5. Promote indigenous language reading and books
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
South African Book Development Council
Type d'entité: 
Secteur public

National Flagship Project in Social Inclusion and the Arts

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
This is a collaborative project between the University of the Free State’s Institute for Reconciliation and Social Justice, Rhodes University and the Nelson Mandela University
Décrivez les principales caractéristiques de la politique/mesure: 
1. The Arts-based platforms Four interventions feature under this platform. They include:  Research: Continuous research takes place through the Institute for Reconciliation and Social Justice in terms of where cultural expressions and values of minorities in particular are challenged, and how this needs to be addressed. Research outputs include programme and intervention developments, publications, and partnerships.  Arts and Social Justice platforms within the university space: At the UFS, art works are developed to raise awareness about cultural expression and cultural value challenges and are implemented on campus through the Arts and Social Justice programme. Dialogues and on-going research accompany these interventions. Similar interventions take place at RU and at NMU.  Arts curriculum development: Rhodes University and the Nelson Mandela University Art Departments/Schools have instituted curriculum development changes. At Rhodes, Social Justice has been integrated into the third year art student curriculum, enabling students to engage with the broader community of Grahamstown and Rhini on issues of social justice, while the Nelson Mandela University has been integrating a more social justice oriented framework to curriculum interventions across years of study.  Digital Development: The Institute for Reconciliation and Social Justice is currently developing a digital platform promoting and developing the concepts of social inclusion and social justice at the UFS, using the creative arts as the vehicle for communication. Called SoJo (an abbreviated form of the words, Social Justice), the platform is working towards the exploration of how the arts work with the field of the digital humanities in terms of human rights, social justice and social inclusion 2. Student Leadership Development in Social Justice  Leadership for Social Justice (L4SJ): The Institute for Reconciliation and Social Justice, partnering with the Department of Student Affairs, the Centre for Teaching and Learning, faculties, the Office for Research and Innovation and the Office for Internationalisation at the UFS are working on the development of a curricular and co-curricular student leadership and innovation programme in social justice. Designed to engage a student over the first three years of their studies on praxes of social justice and social inclusion and which work towards the development of a culture of social transformation and innovation development at the UFS. The project was piloted in 2018 for first year students (intake was around 6 000 – 7 000 students). From the second year, students will have the option to apply to enrol for the programme, which moves into social justice project implementation at a local level. From the third year, the programme will then move into both a virtual and physical exchange programme with universities from South Africa, the African continent as well as with other university partners from Asia, European Union (EU) and the United States of America (USA). The curriculum framework development for the second and third year programmes are currently underway through the Institute for Reconciliation and Social Justice.  The Global Leadership Summit: Coupled to the L4SJ programme is the continuation of the Global Leadership Summit, a strategic programme aligned to the L4SJ programme, and which brings in its higher education partners from across South Africa, Africa, Asia, the EU and the USA together every three years for reflection on issues of social justice and social inclusion as well as forward planning for new programmes and research. From 2018, the Arts and Social Justice platform will become a central vehicle for exploration and development at the Summit. Curriculum development for the Social Justice Virtual Exchange programme will also take place at the Summit.
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
• Broadly speaking, working towards the development and implementation of programmes aligned with the objectives of the policy framework for Social Inclusion creates a sustainable environment for the nurturing not only of creativity amongst youths, but also the nurturing of responsible citizenship and which places focus on the development of a democracy which works towards social justice and social inclusion of all cultural values and expressions. • At RU and NMU, the arts curriculum changes directly reach approximately 150 youths a year. • At the UFS, SoJo will be made available to a student population of around 38 000 students. • At the UFS, the L4SJ programme will reach between 6 000 – 7 000 first year students and draw in around 600 – 1000 second and third year students each year in a targeted programme. • The UFS Global Leadership Summit (2018) It is expected that around 150 – 170 students, staff and faculty from across the world will attend, with approximately 10 higher education institutions from the USA; 2 – 3 institutions from the EU; 1 – 2 institutions from Asia; and 1 – 7 institutions from South Africa and Africa attending
Ressources financières allouées à la politique/mesure en dollars américains: 
The NAC funded the first year of implementation, 2014/15, to the value of R750 000.00 ($63870). Subsequent years of project implementation have been funded within each of the institutions, usually aligned into existing programmes for budget purposes. Hence the integration of the project at the UFS into the Institute for Reconciliation and Social Justice’ Arts and Social Justice programme, and the alignment of the programme into curricular activities at the Nelson Mandela University and Rhodes University.
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Oui
Si oui, quelles sont les principales conclusions/recommandations ?: 
The policy framework of the Department of Higher Education and Training, which draws on and aligns with the 2005 Convention, provides a sustainable and innovative regulatory framework for the protection and promotion of a diversity of cultural expressions in higher education institutions.
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Underpressure Agency
Type d'entité: 
Secteur privé

Diversité des médias

Les médias de service public ont une mission légale ou statutaire de promouvoir des expressions culturelles diverses : 
OUI
Des politiques et mesures promeuvent la diversité des contenus dans la programmation en soutenant : 
Des diffuseurs régionaux et/ou locaux
La diversité linguistique dans la programmation des médias
La programmation communautaire pour les groupes marginalisés (ex. les peuples indigènes, les migrants et les réfugiés, etc.)
La programmation socio-culturelle (ex. à destination des enfants, des jeunes, des personnes en situation de handicap, etc.)
Des réglementations relatives aux contenus nationaux destinées aux médias audiovisuels existent (ex. des quotas pour la production ou la distribution de séries TV, de musique ou de films nationaux): 
OUI
Une/des autorité(s) de régulation dédiée(s) au suivi des médias existe(nt): 
OUI
Si OUI, veuillez fournir le nom et l’année de création de(s) autorité(s) de régulation: 
The Independent Communications Authority of South Africa is an independent regulatory body of the South African government, established in 2000 by the ICASA Act to regulate both the telecommunications and broadcasting sectors in the public interest
Si OUI, cette/ces autorité(s) de régulation effectuent le suivi des: 
Médias publics
Médias communautaires
Si OUI, cette/ces autorité(s) de régulation sont responsables de: 
Délivrer des licences aux diffuseurs, fournisseurs de contenu, plateformes
Recevoir et traiter les plaintes telles que le harcèlement en ligne, les fausses informations, les discours haineux, etc.
Faire le suivi des obligations culturelles (incluant les obligations linguistiques)
Faire le suivi de l’égalité de genre dans les médias
Suivre l’indépendance éditoriale dans les médias
Suivre le niveau de concentration des médias (diversité des structures d’acquisition, transparence des règles d’acquisition, limitations relatives à la concentration des médias, etc.)
Politiques et mesures pertinentes: 

Regulations on Local Television Content

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
ICASA - (Independent Communications Authority of South Africa)
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
The purpose of the regulations is to protect and promote national and provincial identity, culture and character. Public Television Broadcasting A public television broadcasting licensee must ensure that a minimum of all genres listed below is broadcast: - 35% of its drama programming consists of South African drama; - 80% of its current affairs programming consists of South African current affairs; - 50% of its documentary programming consists of South African documentary programming; - 50% of its knowledge-building programming consists of South African knowledge building programming; - 60% of its educational programming consists of South African educational programming; and - 55% of its children’s programming consists of South African children’s programming. Community Television Broadcasting - A community television broadcasting licensee must ensure that after 24 months of gazetting the regulations in the case of existing licensee or within 24 months of issuing of a licence to a new licensee, or within such longer period as the Independent Communications Authority of South Africa (ICASA) may determine, a minimum weekly average of 65% of its programming during the television performance period must consist of local television content. At least 30% of the 65% quota must be produced from the licensee’s coverage area, increasing by 10% annually until reaching 50% measured over the period of a year and such local television content must be spread evenly throughout the said performance period and prime time. Commercial Television Broadcasting - A commercial television broadcasting licensee must ensure that after 24 months of gazetting the regulations in the case of existing licensee or within 24 months of issuing of a licence to a new licensee, or within such longer period as the Independent Communications Authority of South Africa may determine, a minimum weekly average of 45% of its programming measured, over the period of a year during the South African television performance period consists of local television content. In complying with its obligations in terms of the above paragraph, a commercial television licensee must ensure that a minimum of all genres listed below is broadcast: - 20% of its drama programming consists of South African drama - 50% of its current affairs programming consists of South African current affairs; - 30% of its documentary programming consists of South African documentary programming; - 30% of its knowledge-building programming consists of South African knowledge building programming; and - 25% of its children’s programming consists of South African children’s programming. Subscription Television Broadcasting - - A subscription television broadcasting licensee must ensure that within 24 months of gazetting of the regulations in the case of existing licensee or within 24 months of issuing of a licence to a new licensee or within such longer period as the Independent Communications Authority of South Africa may determine, a minimum of 15% percent of their annual content acquisition budget is spent on local television content programming. - A subscription broadcasting service licensee that acquires channels must ensure that, a minimum of 15% of their total annual channel acquisition budget, measured across its service as a whole, is spent on channels with local television content that are compiled and up linked from South Africa. - The broadcasting by a subscription television broadcasting licensee of licensed free-to-air public television broadcasting services, licensed free-to-air commercial broadcasting services and licensed community television broadcasting services will not count towards its compliance. Independent Television Production - Public, commercial, community and subscription television broadcasting licensees must ensure that a minimum of 40% of their local television content programming consists of programmes which are independent television productions and the independent television productions are spread evenly between South African arts programming, South African drama, South African documentary, South African knowledge-building, South African children’s and South African education programming. - A public, commercial and subscription television broadcasting licensee must ensure after 24 months of the gazetting of these regulations or such longer period as the Authority may determine, that 50% of annual independently produced programmed budget is spent on previously marginalised local African languages and/or programmes commissioned from regions outside the Durban, Cape Town and Johannesburg Metropolitan cities.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
Through the implementation of the regulations, it is expected that: - programming is produced under South African creative control; - programming is identifiably South African, and recognises the diversity of all cultural backgrounds in South African society; - programming will develop a television industry which is owned and controlled by South Africans; - programming will establish a vibrant, dynamic, creative and economically productive South African film and television industry
Ressources financières allouées à la politique/mesure en dollars américains: 
The financial implications of this local content regulation are borne by the respective broadcaster.
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Regulations apply to all broadcasters registered with the Independent Communications Authority of South Africa either as public, commercial, community or subscription television broadcasters.

Environnement numérique

Des politiques, mesures et mécanismes de soutien ont été mis en place pour soutenir la transformation numérique des industries et des institutions culturelles et créatives (ex. fonds pour la numérisation des industries analogiques): 
NON
Des politiques et mesures ont été introduites pour assurer l’existence d’un marché national dynamique pour les industries culturelles numériques, incluant des acteurs numériques divers et de toutes tailles (ex. règles de rémunération équitable, contrôle de la concentration du marché, mesures de prévention contre les monopoles des fournisseurs/distributeurs de contenu ou leurs algorithmes qui restreignent potentiellement la diversité des expressions culturelles): 
NON
Des politiques et mesures ont été mises en œuvre pour améliorer l’accès et la découvrabilité de la production nationale de contenus culturels dans l’environnement numérique (ex. plans d’action ou politiques en faveur du pluralisme des contenus numériques, soutien public à des portails culturels ou artistiques dans des langues spécifiques, plateformes nationales ou régionales de distribution de contenu local en ligne, etc.): 
NON
Des mesures et des initiatives ont été mises en œuvre pour promouvoir la créativité et les compétences numériques des artistes et des professionnels de la culture qui travaillent avec les nouvelles technologies (ex. espaces d’expérimentation, incubateurs, etc.): 
NON
Des statistiques et des études comprenant des données récentes sur l’accès aux médias numériques, et notamment sur le type de contenu culturel rendu accessible par les médias numériques, sont disponibles: 
NON
Politiques et mesures pertinentes: 
-

Partenariat avec la société civile

Des associations professionnelles et/ou des syndicats représentant les artistes et/ou les professionnels de la culture existent dans les secteurs suivants (ex. fédération des musiciens, syndicats des éditeurs, etc.): 
Cinéma/Arts Audiovisuels
Design
Musique
Édition
Visual Arts
Performing Arts
Des programmes de financement public soutenant l’implication des organisations de la société civile (OSC) dans la promotion de la diversité des expressions culturelles existent: 
OUI
Des opportunités de formation ou de mentorat ont été organisées ou soutenues par les autorités publiques durant ces 4 dernières années pour développer les capacités de organisations de la société civile (OSC) impliquées dans la promotion de la diversité des expressions culturelles dans des domaines tels que la communication, les actions de plaidoyer et/ou la levée de fonds: 
OUI
Des mécanismes de dialogue entre les autorités publiques et les organisations de la société civile (OSC) ont été mises en œuvre pour l’élaboration des politiques culturelles et/ou leur suivi durant ces 4 dernières années (réunions, groupes de travail, etc.): 
OUI
Si OUI, veuillez fournir jusqu’à 2 exemples: 
The Department of Sport, Arts and Culture has held various consultative sessions on the revised White Paper on Arts, Culture and Heritage.
Civil society organisations, including Arterial Network SA, ASSITEJ SA, SA Guild of Actors, Musicians Association of SA, SA Freelancers Organisation, Freedom of Expression Institute, Documentary Filmmakers, Association, Media Monitoring Africa, South African Screen Federation, Southern African Regional Universities Association, and others made submissions to Parliament around the bills regarding the Lotteries Amendment Act No 32 of 2013, and the Copyright (Amendment) Bill 2014
Des politiques et des mesures de promotion de la diversité des expressions culturelles ont été élaborées en consultation avec les organisations de la société civile (OSC) durant ces 4 dernières années: 
OUI
Politiques et mesures pertinentes: 

Revised White Paper on Arts, Culture and Heritage

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Department of Sport, Arts and Culture
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Design
Arts numériques
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
The revised White Paper aims to addresses the challenges of inequality, poverty, unemployment and persistent divisions based on race, gender, economic and other factors of exclusions. The intention is to effectively contribute to building a cohesive and united society in which everyone has access to arts, culture and heritage, resources, facilities and opportunities framed by the following objectives:Firstly, to align the revised White Paper on Arts, Culture and Heritage with the core mandate of the Ministry of providing arts, culture and heritage services, facilities, funds and resources; contribute to addressing poverty and job creation; and promote social cohesion and nation-building by providing access, resources and facilities to all who live in South Africa, with special attention paid to injustices and imbalances of the past.Secondly, to base the revised White Paper on Arts, Culture and Heritage on the fundamental right to culture, artistic creativity, language, and intellectual and artistic freedom as enshrined in the Bill of Rights in the Constitution of the Republic of South Africa (1996); The National Development 7Plan: Vision for 2030 (2011); the African Charter on Human and Peoples’ Rights (1981); the Charter for African Cultural Renaissance (2006); the UNESCO Declaration on Cultural Diversity (2001); the Convention for the Safeguarding of Intangible Cultural Heritage (2003); Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005); and the African Union’s Agenda 2063 (2014).Thirdly, to harness art, culture and heritage as creative, innovative, educational social development practices with the economic capacities for transforming South Africa into an inclusive society based on actual equality.Fourthly, to reconfigure the existing art, culture and heritage sector and the policies underpinning it to eliminate duplication and hasten transformation to enable the accelerated transformation and optimal performance of the sector in relation to current social, educational and economic policies.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The White Paper has been approved in 2019 and its implementation has started. In implementing the policy, it is anticipated that the overall impact on the creative economy will be: Positioning the arts as a valuable contributor to economic growth and job creation.Stimulating economic development. Creating linkages with creative industries across the African continent as well as internationally to seek exchanges and enrich South African arts, culture and heritage practitioners and businesses.Promote sustainability across the arts, Culture and Heritage sector. Raising the profile of South Africa as a destination for cultural consumers and increasing tourism (visitor) volume and spend. Building the professional capacity of the sector.Improving the production and dissemination of local content.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
All national and provincial departments responsible for Arts, Culture and Heritage
Type d'entité: 
Secteur public
Nom du partenaire: 
All Arts, Culture and Heritage entities of the Department of Sport, Arts and Culture
Type d'entité: 
Secteur public

Objectif 2 - Parvenir à un échange équilibré de biens et services culturels et accroïtre la mobilité des artistes et des professionnels de la culture

Mobilité des artistes et des professionnels de la culture

Veuillez indiquer si les politiques et mesures suivantes existent dans votre pays: 
Des politiques et mesures soutenant la mobilité sortante des artistes et des professionnels de la culture (ex. bureaux d’export, soutien à la participation des professionnels de la culture aux marchés culturels internationaux, etc.)
Veuillez indiquer si les programmes opérationnels suivants ont été développés ou soutenus/financés par les autorités publiques durant ces 4 dernières années: 
Des évènements culturels majeurs ayant un mandat de promotion de la diversité des expressions culturelles et accueillant un large nombre d’artistes étrangers, notamment en provenance des pays en développement (ex. saisons culturelles, festivals, marchés des industries créatives)
Veuillez indiquer si les fonds suivants ont été gérés ou soutenus par les autorités publiques durant ces 4 dernières années (ex. bourses d’études, bourses de voyage, etc.): 
Des fonds publics soutenant la mobilité sortante des artistes et des professionnels de la culture nationaux ou en résidence
Des fonds publics soutenant la mobilité entrante des artistes et des professionnels de la culture étrangers
Des fonds publics soutenant spécifiquement la mobilité des artistes et des professionnels de la culture en provenance ou entre les pays en développement, incluant la coopération Nord-Sud-Sud et Sud-Sud
Politiques et mesures pertinentes: 

Cultural Seasons

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
National Department of Arts and Culture
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Design
Musique
Arts de la scène
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
The Cultural Seasons programme is intended as a vehicle to deepen South Africa’s cultural links with the rest of the world. These programmes significantly enhanced SA’s bilateral and cultural relations with these countries, and brought concrete benefits to SA artists and institutions. The features include showcases of a diversity of cultural expressions in the partner countries; participation in key international festivals and events; networking with promoters, distributors and producers to secure future engagements; educational events, master classes, dialogue sessions and colloquia highlighting values, culture and heritage; media engagements (TV, radio, print) to highlight and promote activities and speak to the purpose of the seasons; establish greater collaboration and cooperation between departments of government, civil society, media agencies, and with arts, culture and heritage organisations and stakeholders within host country; and, to focus financial resources (government and private) and administrative efforts (national government and its entities) to realizing the objectives of the seasons.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The Seasons, as a component of the Department of Arts and Culture’s Cultural Diplomacy Strategy, are expected to promote the country’s value systems and cultural identities through various genres of culture including art, science, music, gastronomy and education. It is expected that the cultural sector will be strengthened, that the seasons will lead to further opportunities for showcasing, for trade and for opportunities for artists and practitioners, and that greater collaboration and cooperation between departments of government and across the tiers of government will be achieved, as well as between government and civil society, media agencies, and with arts, culture and heritage organisations and stakeholders within host country.
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Oui
Si oui, quelles sont les principales conclusions/recommandations ?: 
The French season has been evaluated with substantial reporting on other seasons. The evaluation report prepared by the National Arts Council (the lead implementing organisations for this season) on the South Africa-France Seasons contains a key section on objectives, successes and impact, some of which are recorded here. The Commissioners General, Bongani Tembe and Laurent Clavel, noted in 2013 that ‘the Seasons saw over 1000 South African and French citizens travelling to each other’s countries and an immediate benefit of this has been the increase in the number of French tourists to SA in 2013’. The CG for South Africa, Bongani Tembe highlighted a link between the French and UK seasons: the French Seasons has ‘enabled the refining and packaging of product for the UK Seasons, with 40-60% of the UK Seasons being drawn from the French Seasons’. In effect the French seasons created arts and culture product which was being exported, in addition to products from other sectors. Evaluation evidence included: − Waiving of visa fees for all 1011 participants visiting France over a seven-month period. − Support from SA Revenue Services with regards to goods for temporary importation (e.g. artworks/ stage sets). − Participation of partners (269 South African and 186 French). − Implementation of 15 reciprocal projects. − 350 media houses covering the seasons with 1026 media mentions. − 16% increase in French tourism to South Africa. − 233 projects in more than 150 cities across France. − Strong messages of support from other partners for the seasons (Ghana, Argentina for instance). − Advertising value in the region of R28m ($2,38 m). − PR Value of R84m ($7,15 m). − 1800 jobs created for 632 male and 379 females with 577 for the youth. − Legacy projects established such as the signing of an agreement between the Instittut national de l’audiovisuel (INA) and the DAC; Seminar: an Anthology of Poetry; and a Children’s Parliament as well as a publication by Nelson Mandela Children’s Fund of learners’ experiences of Children’s Parliament. In addition a strong multiplier effect was evidenced from the consolidated partner-to-partner relationships. A few of these are noted here: − Kunjanimation/Annecy, a reciprocal project between Animation SA and Gobelins (Animation School in France) and a strong presence at Annecy Film Festival in 2013. A South African studio offered the opportunity to produce a 2D animation series for a French studio. The local SA animation industry was in talks with the Department of Trade and Industry to adopt a cluster model presented to SA, which would create many opportunities for South African animation businesses and creators. − Dada Masilo’s Swan Lake played to sold-out houses at the Theatre Rond du Pont in Paris for three weeks. The production toured for four months in France. This further resulted in an invitation to Rome for the 15 young South African dancers who benefitted from extensive employment. − Kudu, a reciprocal project between Vuyani Dance Company and French musician, Eric Truffaz, successfully received in South Africa and France was invited for further performances in France (April 2014). − Via Katlehong participated in various performances resulting in a three month tour providing employment for 19 youth. The production continued to tour to more than 20 cities across France, and was also invited to Poland. − Delft Big Band Youth music development band from Delft, Western Cape, partnered with Burgundy Province, and was invited to perform in various cities across France. This project provided a remarkable opportunity for impoverished youth to travel abroad and display their musical talent resulting in strong social upliftment. − Ouroboros Puppet Show, as part of Festival Mondial de Marionettes Handspring Puppet Company, was invited to return to France as part of a six-week tour. − The My Joburg exhibition at La Maison Rouge was a three-month visual art exhibition at a prominent gallery in Paris, exhibiting the works of 57 South African artists. Due the success, the exhibition was invited to Dresden, Germany from October 2013 – January 2015. − Ster City, a theatre production hosted at Festival d‘Avignon and Festival des Metallos was invited to tour 17 African countries in October/November 2014. − More than 800 artists travelled to the UK to perform in more than 15 cities across the UK − The SA government invested more than R20 million in this stream of the programme. The UK partners (major arts festivals, arts institutions, arts council and performing arts institutions) contributed more than R60 million to the initiative. − In a partnership with the Edinburgh International Festival, South African artists participated in 6 different categories across the festival. They were able to secure future invitations to tour nationally and internationally. − 3 South African fashion designers were amongst 130 emerging designers from 30 countries in the largest public fashion exhibition of its kind at the international Fashion Showcase in London. − Two octogenarians were included, namely Abdullah Ibrahim (jazz pianist) performing at London’s Southbank Centre and Esther Mahlangu (Ndebele artist) with an illustrative solo exhibition at the Irma Stern Museum in Cape Town. Both events were part of their 80th birthday celebrations. − Young artist, Bokani Dyer (Standard Bank young artist award winner and pianist) teamed up with UK counterparts for a series of workshops and music education events, live performances and jam sessions. − To promote multiculturalism and cross-cultural understanding and tolerance, and deepen the experience and knowledge of other cultures, 133 screenings of 25 films were screened across 47 venues in the UK. Two films were picked by UK distributors for release (Hear me Move and Four Corners). Critical lessons learnt include inter-alia: − The lack of involvement by other national or provincial departments led to the creation of ‘partner platforms’ to seek buy-in and keep lines of communication open. − Different legal frameworks in partner countries led to appointment of local staff with translation competency and gaining prior knowledge of legal frameworks within which to plan. − High volume of travel and movement of artistic goods and equipment in a concentrated period with unusual travel routes requested led to a decision to set travel parameters and seek reciprocal agreement with regards to customs clearances. − The limited provincial reach, lack of awareness of Seasons within arts communities and applications received from France without a South African partner led to information kits for provinces to guide participation in Seasons, the creation of platforms for provincial participation, and the setting of targets for different genres/ levels of entry and provincial spread. − For the South African Season in France there were expectations from SA partners for NAC to source French partners with the short lead times, lack of seek funding leading to inability of SA artists to secure venues in France. − The lack of corporate sponsorship to strengthen programme and the uneven spread of provincial participation. − Poor showing of SA craft, or legacy projects and limited presence of SA team at events led to the need to seek partnerships with art fairs that could result in sales of works. − Secure venues for visual and performing arts well in advance, establish a mechanism for new / changed projects during Season. − Design sponsorship packages for different genres or key events, set targets for different genres / levels of entry / provincial spread, − Appoint a curator for craft exhibitions incorporating widespread of SA craft, need to find key projects that can result in legacy projects and budget for project coordinators to travel to host country for more events and/or appoint bigger staff complement in host country. − The limited reach for skills development, particularly among emerging artists led to new partnerships facilitated with local and overseas institutions to allow for a greater awareness. − Amounts of finance and funding, timeous payments and unexpected costs (such as freight) were a key challenge with the need to create varied and relevant contracts for partners, enable urgent payments, and in some instances, emergency funds, clearly define reporting requirements and ensure tranche payments are made timeously.
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
The National Arts Council
Type d'entité: 
Secteur public

Africa Month Programme

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
National Department of Arts and Culture
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Design
Musique
Arts de la scène
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
Africa month programme, which celebrates Africa in South Africa, is a response by the South Africa Government to the call by the African Union to build a better Africa and a better world as outlined in the Charter for African Cultural Renaissance and other African Union instruments. This Charter was signed by the Minister of Arts and Culture on 25 May 2012 and was ratified by Cabinet and adopted by Parliament in 2013.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
NON
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The results expected through the implementation of the measure includes the following:  To develop pride in the rich and diverse cultures of the Continent.  To enable collective efforts by member states to liberate the African continent from many challenges such as slow economic growth, social ills, wars, cultural barriers.  To strengthen diplomacy in the continent.  To engage in conversation within the broader theme of ‘Decolonisation’
Ressources financières allouées à la politique/mesure en dollars américains: 
The total spent was R34 733 510 ($2957905).
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Oui
Si oui, quelles sont les principales conclusions/recommandations ?: 
The overview evaluation suggests that while the participation of youth in cultural programmes and activities targeted at women have increased, ‘there is room for improvement, especially reaching out to talented and artistic young women that are currently exploited and wasted in the township and rural areas’. Communication and marketing were improved through live streaming of events, live crossing, interviews, promos, generic adverts on TV and Radio including airport screens and visibility of branding at events. Key print and radio media were present at the launch of Africa Month, the Africa Month dialogue, with media coverage in major Sunday newspapers. A 4-page publication to supplement the Budget Vote was distributed in major newspapers while radio supported generic adverts for the Campaign Messaging in 11 languages and hosted numerous discussions and interviews with African writers and thinkers, panel discussions with Ngugi wa Thiong’o, Advocate Sipho Mantula and Mam Mathobo Kunene as well as the Minister of Arts and Culture. 13 African countries participated in various activities around the country (Algeria, Burkina Faso, Cote d’Ivoire, DRC, Egypt, Mali, Mozambique, Namibia, Senegal, Sudan, Tunisia, Western Sahara, Zimbabwe) with South Africa hosting 41 countries from across the continent.
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
The measure was implemented by a number of organizations (universities, cultural institutions, arts organizations) and in partnership with the provincial Departments of Sport, Arts, Culture and Recreation. A number of events took place in collaboration wi

!KAURU Contemporary Art Project

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
!Kauru Contemporary Art Project
Domaines culturels couverts par la politique/mesure: 
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
!KAURU Contemporary Art Project began in 2012 as a vehicle for educating the public about the role of art in society. It was conceptualised as a platform for cross-border/cross-regional engagement and discourse between South African creatives and their counterparts across the African continent. The Project is focused on dialogue around social and economic cohesion, transformation and access within the creative sectors in South Africa but also across the continent to strengthen engagement and build sustained relationships with creatives on the African continent.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The results expected through the implementation of the measure? • To showcase the finest of African contemporary art. • Sensitize and mobilize South African/African audiences and media to appreciate African visual art. • Promote inter Africa/diaspora cultural exchange in a direct and meaningful way. • Create a network and visibility for artists, artist promoters, academia, and cultural institutions. • Skills transfer, empower young and up coming local artists through skills development workshops and community outreach programs. • !KAURU not only recognizes the visual arts as a means to celebrate heritage, but it strives to position the visual arts as an important contributor to the economy of the region and stimulate ongoing investment in this field.
Ressources financières allouées à la politique/mesure en dollars américains: 
From 2012 to 2017, between R1, 500, 000.00 ($0,13) to R2, 500,000.00 ($0,21) (more recently in 2017)
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Department of Arts and Culture
Type d'entité: 
Secteur public
Nom du partenaire: 
Department of International Relations and Cooperation
Type d'entité: 
Secteur public

Échange des biens et services culturels

Des stratégies ou des mesures d’exportation soutenant la distribution de biens et services culturels en dehors de votre pays existent dans les domaines suivants: 
Cinéma/Arts Audiovisuels
Musique
Votre pays a accordé ou a bénéficié d’un traitement préférentiel* soutenant des échanges équilibrés de biens et services culturels durant les 4 dernières années: 
-
Si OUI, veuillez fournir jusqu’à 2 exemples: 
-
Durant les 4 dernières années, votre pays a accordé ou bénéficié de l’Aide pour le commerce, une forme d’Aide au développement visant à renforcer les capacités à formuler des politiques commerciales, à participer aux négociations et à mettre en œuvre des accords qui donnent un statut spécial aux biens et des services culturels: 
-
Si OUI, veuillez fournir jusqu’à 2 exemples: 
-
Politiques et mesures pertinentes: 

Concerts SA

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
SA Music Rights Organisation (SAMRO)
Domaines culturels couverts par la politique/mesure: 
Musique
Décrivez les principales caractéristiques de la politique/mesure: 
Concerts SA is a joint South African/Norwegian live music development project housed within the SAMRO Foundation, supported (financially, technically, administratively) by the Norwegian Ministry of Foreign Affairs, SAMRO, the SAMRO Foundation and Concerts Norway. Working with musicians, promoters, venue owners and audiences, and providing support to the sector through research and skills development for music professionals, the project aims to build a vibrant and viable live music circuit in southern Africa.The primary beneficiaries of the programme are established and emerging musicians, audiences both in urban and rural areas, children and youth and local promoters/concert organisers. From 2012 the project focussed on developing circuits in three provinces (Gauteng, Western Cape and KwaZulu-Natal) and their wider connection into urban centres across the Southern African region through a mobility fund.The core activities of Concerts SA include:Commissioning research and advocacy material related to the size, shape and strategic positioning of the live music field in South Africa.Subsidising a network of urban venues to present a regularised programme of live music, investing in fees for a mix of established and emergent musicians, and enhanced marketing and communications of live performances.Engaging promoters in the programming of live music in schools and community venues in township, peri-urban and small town contexts.Managing a mobility fund enabling South African musicians to tour nationally and in the SADC region.Convening workshops and skills/knowledge exchange initiatives with stakeholders in the live music field.Together with Rikskonsertene/Kulturtanken, managing a modest programme of artistic and professional exchange with the music industry in Norway.Engaging with a variety of potential funders and partners at a local, provincial, national and international level in seeking to ensure the sustainability and growth of the programme.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
To ensure that concert circuits for live music performance in both urban and rural areas in South Africa with a particular focus on previously disadvantaged areas and regions are established.Emerging concert promoters from previously disadvantaged communities supported.Venue owners are supported to host regular live music performances in collaboration with local municipalities and provincial authorities.Both established and emerging artists are programmed to perform in the circuits.School concert circuits are established, enabling youth and children from disadvantaged communities to experience live music from South Africa, SADC and Norway.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
SA Music Rights Organisation (SAMRO) (Not for profit company)
Type d'entité: 
Secteur public

Traités et accords

Des accords multilatéraux ou bilatéraux de commerce et/ou d’investissement accordant un statut particulier aux biens et/ou services culturels ont été signés durant ces 4 dernières années ou bien sont en négociation: 
NON
Des accords multilatéraux ou bilatéraux incluant des dispositions spécifiques accordant un statut particulier aux biens et services culturels et aux produits numériques dans le domaine du commerce électronique ont été signés durant ces 4 dernières années ou bien sont en négociation: 
NON
Des accords, traités, déclarations et/ou stratégies multilatérales ou bilatérales répondant à des enjeux politiques en lien avec la diversité des expressions culturelles (ex. éducation, numérique, propriété intellectuelle, développement durable, égalité de genres, etc.) ont été signés ou amendés pour prendre en compte les objectives et principes de la Convention de 2005 durant ces 4 dernières années: 
NON
Politiques et mesures pertinentes: 

Arts, Culture and Heritage Bilateral Agreements

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Department of Sport, Arts and Culture
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Design
Arts numériques
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
The main objectives of our bilateral agreements are:To promote and showcase South African arts, culture and heritage to international fora and audiences.To provide a platform for market access of cultural goods and services.To exchange expertise, through technical exchange programmes.To promote South-South and North-South cooperation.To support the mobility of artists
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
Cultural relations have been strengthened through the joint implementation of cultural agreements and film co-production treaties.Through cultural agreements we have been able to promote our cultural diversity and promote inter-cultural dialogues between countries.Agreements provided a platform to exchange expertise and technical skills in arts, culture and heritage.Promote access of markets for our cultural goods and services.Provides an opportunity to showcase other areas of cooperation in economics, technology, tourism, innovation and education, sharing knowledge and skills through our cultural seasons programme with countries.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Department of Sport, Arts and Culture
Type d'entité: 
Secteur public
Nom du partenaire: 
Department of International Relations and Cooperation
Type d'entité: 
Secteur public

Objectif 3 - Inclure la culture dans les cadres de développement durable

Politiques et plans nationaux de développement durable

Les stratégies et les plans nationaux de développement durable reconnaissent le rôle stratégique de: 
La culture (en général)
Veuillez évaluer de 1 à 4 le type de résultats attendus en lien avec l’inclusion de la culture dans les stratégies et les plans nationaux de développement (1 = le résultat le plus souvent attendu ; 4 = le résultat le moins attendu): 
Economique (ex. emploi, commerce, propriété intellectuelle, industries culturelles et créatives, développement rural et territorial): 
1
Social (ex. cohésion sociale et inclusion, inégalité et réduction de la pauvreté, valeurs et identité, groupes vulnérables et minorités, capital humain et autonomisation, éducation): 
1
Environnemental (ex. ressources naturelles, réduction de l’impact environnemental des industries et des pratiques culturelles): 
4
Culturel (ex. infrastructure culturelle, participation et accès à la culture, innovation, soutien aux artistes): 
3
Des organismes culturels publics et des agences responsables des industries culturelles et créatives sont impliqués dans l’élaboration et la mise en œuvre des politiques et plans nationaux de développement durable (ex. participation à des mécanismes de coordination tels que des comités mixtes de planification): 
-
Des initiatives et projets de régénération régionale, urbaine et/ou rurale fondés sur les industries culturelles ont été mis en œuvre durant les 4 dernières années: 
NON
Des politiques et mesures facilitent la participation à la vie culturelle et l’accès à des infrastructures et des expressions culturelles diverses, notamment en répondant aux besoins des groupes vulnérables et défavorisés (ex. par le biais de droits d’entrée réduits, de stratégies de développement des publics, de l’éducation artistique et de la sensibilisation des publics): 
-
Politiques et mesures pertinentes: 

Exports Marketing and Investment Assistance Scheme

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Department of Trade Industry and Competition
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Musique
Edition
Décrivez les principales caractéristiques de la politique/mesure: 
The national Department of Trade, Industry and Competition administers a set of incentive programmes, which fall into the following incentive clusters, namely the Broadening Participation Cluster, Competitiveness Investment Cluster, Services Investment Cluster, Manufacturing Investment Cluster and Infrastructure Support Cluster. The following incentives are applicable to cultural expressions with relevance to the 2005 Convention.Competitiveness Investment Cluster: Export Marketing and Investment Assistance (EMIA)EMIA scheme seeks to assist South African exporters to establish export markets for their products; to partially compensate exporters for costs incurred for activities aimed at developing export markets for South African manufactured products and services; and to recruit new foreign direct investment into South Africa. Registered companies in the film and television, music and craft sectors have benefitted from this scheme by participating for example at the SA Handmade Collection, the India International Trade Fair, Ambiente (Germany), International Handicraft and Gift Fair in Kocaeli (Turkey), International Folk Art Market (USA) and the Asia Content and Entertainment Fair (South Korea).Competitiveness Investment Cluster: Sector Specific Assistance Scheme (SSAS)The SSA Scheme seeks to develop an industry sector as a whole, broaden the export database and promote broader participation of black-owned Small, Medium and Micro-sized Enterprises (SMMEs) in the economy. The scheme has assisted a broad range of project coordinators, including the Association for Transformation in Film and Television, the Cape Film Commission, the Jewellery Council of South Africa, Publishers Association of South Africa, the South African Association for Creative Industries, the Independent Music Exporters South Africa as well as the Craft and Design Institute.Services Investment Cluster: Film and TV Production incentiveGovernment, through the Department of Trade and Industry, offers film and television production incentives to promote the country’s film production and post-production industry. The incentives comprise the Foreign Film and Television Production and Postproduction Incentive, which aims to attract foreign-based film productions to be shot in South Africa and conducting post-production activities; and the South African Film and Television Production and Co-Production Incentive, which aims to assist local film producers in the production of local content. The sub-programme, South African Emerging Black Filmmakers Incentive, has been added to the South African Film and Television Production and Co-production Incentive with the aim of assisting local emerging black filmmakers to grow and to take on larger productions that will create employment.The Export Marketing and Investment Assistance (EMIA) scheme develops export markets for South African products and services and to recruit new foreign direct investment into the country.The key objectives of the measure are as follows:●          To expand economic participation to ensure the development of sustainable and competitive enterprises.            ●          To promote the growth of South African-manufactured goods and services in the local and global economy.●          To provide funding to non-profit business organisations in sectors and sub-sectors prioritised by the DTIC, as long as the purpose of the organisation and/or its proposed project aims to conform to the DTICs export strategy.●          To contribute to creating employment, enhancing the international profile and export revenue of offshoring services, and increasing the country’s creative and technical skills base
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
NON
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
EMIA scheme assisted as follows:Assisted exporters to establish export markets for their products;Partially compensate exporters for costs incurred for activities aimed at developing export markets for South African manufactured products and services;Recruit new foreign direct investment into South Africa.Exporters can apply for any of the four EMIA sub-programmes: Individual Exhibition, Primary Market Research, Foreign Direct Investment, and Individual Inward-Bound Missions.
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Department of Trade, Industry and Competition
Type d'entité: 
Secteur public

Coopération internationale pour le développement durable

Votre pays a contribué ou bénéficié du Fonds International pour la Diversité Culturelle (FIDC) durant ces 4 dernières années: 
OUI, mon pays a contribué au FIDC
OUI, une institution publique ou une organisation non-gouvernementale de mon pays a bénéficié du FIDC
Des stratégies de coopération pour le développement, incluant les stratégies de coopération Sud-Sud, reconnaissent le rôle stratégique de la créativité et des expressions culturelles diverses: 
NON
Si OUI, veuillez fournir le(s) nom(s) de(s) stratégie(s) et leur(s) année(s) d’adoption: 
-
Votre pays gère des programmes multilatéraux et/ou bilatéraux de coopération dédiés à l’assistance technique et au renforcement des capacités soutenant: 
-
Politiques et mesures pertinentes: 

Intergovernmental coordination: The Presidential Creative Industries Task Team of Deputy Ministers

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
The Presidency
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Design
Arts numériques
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
The Task Team is mandated to effectively intervene against piracy and intellectual property and copyright infringement, increase local content, enable the media to foster values and drive social cohesion and nation building, and extend social welfare and social insurance coverage and income smoothing to artists and skills development. The team has embarked on various interventions and consultations to unlock and optimise the performance industry throughout the value chain, including meeting with industry representatives. Each department that contributes on the task team is assigned key deliverables, to deal with specific areas affecting the creative industries.The work of the Task Team supports government’s Mzansi Golden Economy, which facilities employment creation, enhances both social equity and competitiveness and mobilises domestic investment around activities that could create sustainable employment. Working with many industry players and across government departments, the Task Team initiated a number of interventions to unlock and optimize the performance industry throughout the value chain some of which include the introduction of the Copyright Amendment Bill and the Performers Protection Bill to Parliament; improvement of frequency of anti-piracy raids etc.The same key deliverables are also assigned to state agencies, which are responsible for specific sectors, such as the National Arts Council and the Industrial Development Corporations Media and Motion Picture Division.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
NON
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
Coordination across a number of departments, namely Presidency, Arts and Culture, Communications, Social Development, National Treasury, Police, Higher Education and Training, and Trade and Industry as well as Labour in matters affecting artists, creative workers and the creative industries more generally.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Cultural and Creative Industries Federation
Type d'entité: 
Organisation de la société civile (OSC)

Artists and organisations engage with cultural expressions and climate justice (NGOs)

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Various NGOs listed in h
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Design
Arts numériques
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
The main objective of the measure is for cultural and creative industries to make connections between climate change and other pressing environmental issues, enabling a new perspective on its urgency and relevance to society, the economy and to government.The projects and programmes are ad hoc and unrelated to a specific government policy or directive and have been undertaken, in the main by independent artists, arts organisations and NGOs around the country. Responses to environmental challenges have been identified in sectors such as craft, design, festivals and outdoor events, theatre, visual arts, fashion and architecture.The projects and practices listed address the following environmental issues in their work: •           Food production and innovation •           Water conservation •           Energy generation •           Waste reduction and closed loop recycling•           Sustainable transport•           Pollution (e.g. mining) •           Biodiversity conservation •           ReforestationThey do this through the ‘Seven Trends’ of creative climate action adapted from Julie’s Bicycle including i.          Artwork ii.          Art activism iii.         Connection with nature iv.         Education and behaviour change v.         Circular economy vi.         Sustainable infrastructure vii.        Creative collaborations viii.       Conservation ix.         Transition
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
In putting together a report on these projects and programmes, produced by researcher Sholeh Jonhston in collaboration with the National Arts Council of South Africa and Vrystaat Arts Festival are to -           Establish processes that connect people across the South African movement of creative and cultural change-makers and create a sense of community and shared purpose.-           Make the role of culture in meeting environmental and social challenges in South Africa visible to the cultural sector itself, key strategic organisations and funders of cultural activity, policymakers in the fields of culture, environment and human rights, and the international cultural (and cultural policy) community. -           Lay the foundations for how cultural policy makers and other strategic stakeholders can better support and maximise the impact of cultural leadership on environmental issues. -           Articulate the diversity of responses already taking place and begin to gather learning that could be shared to further inspire action and optimise impact.-           Capture the impact that this activity is having on society and the environment, and if data is not available, provide recommendations on how this impact could be captured
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
National Festivals such as Afrika Burn, Vrystaat Arts Festival, Eco Film Festival, Well Worn Theatre Company, Outreach Foundation, Greenpop
Type d'entité: 
Organisation de la société civile (OSC)
Nom du partenaire: 
Artists such as Blessing Ngobeni, Claire Rousell, Gregory Maqoma (Johannesburg), Hannelie Coetzee (Johannesburg), Kai Lossgott, Kevin Kimwelle, Linzi Lewis, Mandy Coppes, Mbongeni Richman Buthelezi, Santo Mofokeng, Willem Boshoff (Johannesburg), Virginia
Type d'entité: 
Organisation de la société civile (OSC)
Nom du partenaire: 
- Institutions: Craft and Design Institute (National), Design Society Development DESIS lab (Johannesburg), Green Building Council, Iziko Museums (Cape Town)
Type d'entité: 
Organisation de la société civile (OSC)
Nom du partenaire: 
- Academia: Dylan McGarry (Environmental Learning Research Centre, Rhodes University), The Sustainability Institute (Stellenbosch), Re-Future (University of the Free State’s Centre for Development Studies, Qala Phelang Tala, the Programme for innovation i

National Development Plan – vision for 2030 (NDP 2030)

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
National Planning Commission, Presidency of the Government of South Africa
Décrivez les principales caractéristiques de la politique/mesure: 
The NDP is a long-term strategic plan, and serves four broad objectives: • Providing overarching goals for what SA wants to achieve by 2030. • Building consensus on the key obstacles to achieving these goals and what needs to be done to overcome those obstacles. • Providing a shared long-term strategic framework within which more detailed planning can take place in order to advance the long-term goals set out in the NDP. • Creating a basis for making choices about how best to use limited resources. The aim is to ensure policy coherence, alignment and coordination across government’s plans, including the alignment of budgeting processes. It identifies indicators and targets from the NDP and other plans, such as: - The New Growth path, which sets the trajectory of economic development. - National Infrastructure Plan which guides the rollout of infrastructure to improve people’s lives and enable economic growth. - Industrial Policy Action Plan, which focuses on promoting investment and competitiveness in leading sectors and industries. - It is structured around 14 priority outcomes: education, health, safety and security, economic growth and employment, skills development, infrastructure, rural development, human settlements, local government, environment, international relations, an effective public sector, social protection, nation ‐ building and social cohesion.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The NDP is quite clear about the expected results of implementing the plan: In 2030, South Africans will be more conscious of the things they have in common than their differences. Their lived experiences will progressively undermine and cut across the divisions of race, gender, disability, space and class. The nation will be more accepting of peoples’ multiple identities. In this South Africa there will be: - Broad-based knowledge about and support for a set of values shared by all South Africans including the values contained in the Constitution. - An inclusive society and economy. This means tackling the factors that sustain inequality of opportunity and outcomes by building capabilities, removing participating barriers and redressing the wrongs of the past. - Increased interaction between South Africans from different social and racial groups. - Strong leadership across society and a mobilised, active and responsible citizenry. This Medium Term Strategic Framework period will be characterised by universal knowledge of the Constitution and the values enshrined therein. Improved access to quality public services will greatly reduce inequality of opportunity. Instruments to optimise redress will be in place and government across the three spheres will be more responsive and thus ignite a citizenry positively engaged and active in their own development.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
No, there has been no evaluation of the work of the NDP but Operation Phakisa is one of the mechanisms for implementing the NDP (Means ‘hurry up’ in Sesotho). It sets plans and targets, monitors progress and makes results public. It is a methodology tool “Big Fast Results” utilised by other government including the government of Malaysia. The Operation Phakisa website states: “Operation Phakisa is a cross-sector programme where various stakeholders engage to implement initiatives and concrete actions to address constraints to delivery in a prioritised focused area for public accountability and transparency” (www.operationphakisa.gov.za).

City of Cape Town Cultural Policy

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
City of Cape Town - Local government
Décrivez les principales caractéristiques de la politique/mesure: 
The purpose of the policy is, broadly, to: • Create mechanisms to guide the allocation of resources i.e. human, financial, City services, and property towards the support of arts, culture and the creative industries in Cape Town. • Create mechanisms for internal transversal coordination between various City departments that provide services related to arts, culture and the creative industries. • Provide mechanisms for the development of an enabling environment that fosters partnership building with stakeholders outside of the city. • Make a case for, and facilitate increased investment by the City and other potential funders in arts, culture and the creative industries in Cape Town.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The policy is intended to benefit Cape Town’s population as a whole, as well as local sectoral stakeholders. The policy was submitted to a public participation process and was advertised in local newspapers, libraries and on the City’s website for comment and recommendation from interested parties. After a period of 30 days this feedback was collated and adjustments were made to the Policy where appropriate. The following are achievements associated with this policy - Award of creative cities - Public arts management framework
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Oui
Si oui, quelles sont les principales conclusions/recommandations ?: 
- UNESCO Creative cities award was seen as a major achievement as Cape Town was the first city in Africa to be named a UNESCO City of Design. Cape Town City joins 180 cities in 72 countries committed to the promotion and development of innovation and creativity. The Design Indaba team commented on this achievement that ‘Cape Town has many challenges but with that comes opportunities to bridge the divide while using creativity as a tool to create a better world”. - The city was used as a case study for design thinking process as part of the Cape Town Design Capital programme. - Part of World Cultures Forum although this focused more on cultural tourism.

Mzansi Golden Economy (MGE): Cultural Events

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Department of Sport, Arts and Culture
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Design
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la politique/mesure: 
The purpose of MGE is to make strategic investments to optimize the economic benefit of the arts in South Africa. By improving investment in key areas of the creative economy, it is anticipated that job creation and productivity will be enhanced and the sector’s global competitiveness will be increased. Cultural Events is one of the work streams in the key MGE area titled ‘Audience development and consumption’. The cultural events work stream supports large and small-scale local, regional and national events that promote the arts, culture and heritage and that contribute to local economic development, job creation and the development of audiences. The specific objectives of the work stream are to: − To upscale existing events and festivals allowing increased diversity of cultural offerings, enhanced quality of productions, and the extension of event timeframes. − To support projects with obvious economic and social benefit for the location. − To increase the audience and exposure that each production receives. − To increase the number of jobs created, livelihoods supported and income generated through the events. − To enhance the social cohesion in the country by promoting diversity of content and audiences in specific locations of the project. − To enhance skills development opportunities of Creative and Cultural industries practitioners.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
In implementing key programmes it is anticipated that the overall impact of the programme on the creative economy will be: • Positioning the arts as a valuable contributor to economic growth and job creation. • Stimulating economic development. • Creating linkages with creative industries across the African continent as well as internationally to seek exchanges and enrich South African arts, culture and heritage practitioners and businesses. • Promote sustainability across the arts, Culture and Heritage sector. • Raising the profile of South Africa as a destination for cultural consumers and increasing tourism (visitor) volume and spend. • Building the professional capacity of the sector. • Improving the production and dissemination of local content.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Oui
Si oui, quelles sont les principales conclusions/recommandations ?: 
• While many of the organisers (especially Flagships and Festivals and Events) are established and have been involved in organising events for long periods, the DAC MGE programme has also assisted new organisers in the cultural event/ activity arena who have been planning the event for three years or less. This suggests that the DAC MGE is creating opportunities for more cultural events/ activities to be held in South Africa, contributing to the objective of increasing and diversifying cultural offerings. • Different types of cultural genres and aspects including established events, festivals, exhibitions, performances, workshops and training events (mainly targeting youth and schools) are being supported by DAC MGE funding. The different types, sizes and spatial/ geographical spread of the Festivals and Events is meeting the broader objective of contributing to increased diversity of cultural offerings. It is important to note that in terms of spatial distribution of the events/ activities, Gauteng was dominant with close to a third of the events/ activities surveyed located in this province. • In terms of employment, more established events and Non-Profit Organisations (NPOs) generally employed more persons permanently. In total, organisations that received MGE funding during the three-year study period employ 3 388 people in permanent jobs. Furthermore, DAC MGE funded event organisers employ a total of 25 941 additional persons specifically for the events, 1 473 permanent persons and 24 558 temporary workers per year. This aligns to the DAC MGE objective of promoting job creation and upskilling opportunities. The DAC MGE funded events are often one of the main activities or the only activity the organisations are involved in. This underscores the importance of DAC MGE funding in promoting and supporting the diversity of cultural events/ activities in South Africa. However, there was a lack of disaggregated employment information (by gender, historical racial category and location of additional persons employed) both in the information provided in the close out templates for reporting as well as information that respondents could provide during the interviews. The available results do suggest that employment was generally locally based, that both women and men are being exposed to job opportunities in the cultural sector, and that black Africans are key beneficiaries, as the DAC MGE programme intended. However, most of the employment is temporary/ casual and are generally lower paying jobs.
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Cultural and creative professionals
Type d'entité: 
Organisation de la société civile (OSC)

Objectif 4 - Promouvoir les droits de l’homme et les libertés fondamentales

Égalité des genres

Des ministères, agences gouvernementales et/ou organes parlementaires en charge de l’égalité des genres: 
Existent mais ne sont pas pertinents pour les professionnels de la culture
Des politiques et mesures ont été mises en œuvre pour soutenir la participation pleine et effective des femmes à la vie culturelle durant ces 4 dernières années: 
NON
Des politiques et mesures ont été adoptées pour soutenir la reconnaissance et la progression de carrière des femmes en tant qu’artistes, professionnelles de la culture et/ou entrepreneures créatives (ex. assurer un salaire égal à travail égal, accès égalitaire au financement, structures de mentorat et de coaching, mesures anti-discrimination, etc.): 
NON
Des données sont régulièrement collectées et diffusées pour faire le suivi de: 
-
Politiques et mesures pertinentes: 

Yanaya Gender Film and Dialogue Festival

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Yanaya Productions (Pty) Ltd
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Décrivez les principales caractéristiques de la politique/mesure: 
The key objective of the Yanaya Gender Film and Dialogue Festival is to provide a platform for women to showcase their films and participate in dialogues on a number of societal issues that impact on women. These include violence against women and children, silencing of women and challenges that women and children face in their everyday lives
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
Audience development for films made by women and those that address and document the daily experiences and struggles of women at local and international level. The festival seeks to facilitate collaboration of advocacy and activism efforts for women in communities in which the festivals take place. The films also encourage a dialogue amongst communities who have watched films and create platforms to engage not only with the film itself but also the messages and themes that are told by the filmmakers.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 

Sisters Working in Film and Television (SWIFT)

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Sisters Working in Film and Television
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Décrivez les principales caractéristiques de la politique/mesure: 
They play an advocacy and activism role and are consistently seeking partnerships with key stakeholders in government, industry and private sector to support their very important mandate. One of their objectives is to conduct research on the working conditions and labour practices and how these impact on women. SWIFT is a member driven organization with a local focus and international membership.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
Improved working conditions for women in the film and television industry: safety, equitable pay and awareness and respect for women on film and television sets.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 

Female Filmmaker Project

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
National Film and Video Foundation
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Décrivez les principales caractéristiques de la politique/mesure: 
The Female Filmmaker Project is an initiative that was first introduced by the NFVF in 2014. In line with its objective to develop and promote the South African film and audiovisual industry, the NFVF introduced this initiative to bridge the gap in a male dominated film industry in South Africa. The opportunity to work with an experienced female owned company is sensitive with the often exploitative and gender insensitive environment for women that is beset with sexual harassment, unequal pay and long working hours on shoot days that do not cater for the safety and security, remuneration and flexible working conditions for women. The 3-year funding grant takes away the stress and anxiety associated with raising production finance from different sources. The burden to comply with mandatory requirements (including but not limited to financials, tax clearance certificates etc) is often taxing for newly established production companies by recent graduates who are navigating the business environment and the regulatory landscapes. The production of diverse new content attracts distribution deals mainly from the South African Broadcasting Corporation (SABC), the only public broadcasting service provider in South Africa. Such a distribution deal for all short films is important to ensure that these films are seen by as many South Africans as possible and opens up possibilities for other forms of distribution such as video on demand and niche channels.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The deliverable of the projects are 26 short films, 24 minutes each with an individual production budget of R500 000. The project was implemented across three financial years from April 2014 ending March 2017. Six projects were delivered in the first years followed by 10 short films for each remaining year of the agreement. At the end of the project, first time filmmakers have skills and experience to write, direct and produce short films and a calling card and projects that will go into their film reel. By providing a platform for women to work with each other, young and inexperienced filmmakers work with experienced women in the writing, directing, production and post-production aspects of their films. This opportunity enables women to be heard and to produce films where their voices and narratives are true to their expressions.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 

Vavasati International Women’s Festival

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
South African State Theatre
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Décrivez les principales caractéristiques de la politique/mesure: 
The main objectives are: • To offer women in the arts, young and old, a platform to tell their stories and to showcase their work to an international audience. • To give accessibility, technical staff, equipment, space and resources to women who are often excluded from the mainstream industry. • To celebrate women who do not appear in history books. • To create space for dialogue that includes men.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
NON
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
NON
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
• Opportunity to showcase artwork to an international audience. • Access by external theatre-makers, artists and producers to the State Theatre’s existing audiences and networks. • An opportunity for women to take on leadership positions in various departments including directing, programming, etc. • Introduction, promotion and celebration of new narratives. • It is expected that the festival will contribute to the revitalization of the inner city and to attract visitors from across Gauteng.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 

Liberté artistique

La constitution et/ou les cadres nationaux réglementaires reconnaissent officiellement: 
Le droit des artistes à créer sans censure ni intimidation
Le droit des artistes à diffuser et/ou interpréter leurs créations artistiques
Le droit pour tous les citoyens de jouir librement des créations artistiques dans les sphères publique et privée
Le droit pour tous les citoyens de participer sans restriction à la vie culturelle
Des organismes indépendants sont établis pour recevoir les plaintes et/ou faire le suivi des violations et des restrictions à l’égard de la liberté artistique: 
OUI
Des initiatives pour protéger les artistes en danger ou en exil ont été développées ou soutenues par les autorités publiques durant ces 4 dernières années (ex. en fournissant des refuges, des conseils, des formations, etc.): 
NON
Des mesures et des initiatives destinées à assurer une prise de décision transparente dans l’attribution de financements gouvernementaux, d’aides d’État et de prix pour les artistes existent ou ont été introduites ces 4 dernières années (ex. par le biais de comités indépendants, etc.): 
OUI
Des mesures de protection sociale prenant en compte le statut professionnel des artistes ont été adoptées ou révisées durant ces 4 dernières années (ex. assurance santé, plans de retraite, allocations chômage, etc.): 
NON
Des mesures économiques prenant en compte le statut des artistes ont été adoptées ou révisées durant ces 4 dernières années (ex. accords collectifs, impôt sur le revenu et autres cadres réglementaires, etc.): 
NON
Politiques et mesures pertinentes: 

Unmute Dance Company

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Unmute Dance Company
Domaines culturels couverts par la politique/mesure: 
Arts de la scène
Décrivez les principales caractéristiques de la politique/mesure: 
Unmute Dance Company seeks to inspire the inclusion of people with disabilities within society through performances, artistic workshops and exchange programmes that encourage activism and awareness of integration. Unmute Dance Company is an integrated company of artists with mixed abilities or ‘disabilities’ whose vision is to inspire the inclusion of ‘disabled’ persons into the main stream society through cutting edge and original performances, workshops and exchange programmes etc. Unmute Dance Company is the only existing integrated dance company in South Africa, based in Cape Town as part of the Artscape Resource Centre Incubator programme. With its cutting edge works it has been invited to be part of South Africa’s major arts festivals like Johannesburg Dance Umbrella Festival, Cape Town’s Infecting The City, Gipca’s Live Art Festival, etc. The company continues to reach to schools and communities through outreach performances and workshops that promotes integration.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
OUI
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
The Company seeks to challenge people’s state of mental-misconception on disabilities, by encouraging people to break barriers and realize that persons with disabilities are able and have their own abilities and that no one is confined by physical limitations.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Artscape Theatre
Type d'entité: 
Secteur public

Measures and Initiatives reported by Civil Society Organizations

Décrire la façon dont le formulaire des OSC a été utilisé pour promouvoir la collaboration avec les OSC dans la préparation de ce rapport, y compris la distribution du formulaire et les modalités de collecte et d’analyse des informations reçues. Veuillez indiquer le pourcentage de mesures et d’initiatives qui ont été considérées comme pertinentes par la Partie et incluses dans le formulaire des rapports périodiques.: 
Representatives from civil society organizations who attended the training workshop and the validation meeting (see General Information) assisted with providing input and guidance on the selection of measures included in the report. In addition, ASSITEJ SA and Arterial Network SA compiled the Civil Society report.
OBJECTIF 1 – Soutenir des systèmes de gouvernance durables pour la culture: 

#Artout events

Nom des OSC chargées de la mise en œuvre de la mesure/initiative: 
Arterial Network South Africa
Domaines culturels couverts par la mesure/initiative: 
Cinéma/Arts audiovisuels
Design
Arts numériques
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la mesure/initiative: 
Arterial Network produced a number of events, which promotes the objectives of the 2005 Convention. These events included the following: - Hosted a group of festival directors, programmers and curators during the National Arts festival in 2017 to converse over the opportunities and challenges associated with the mobility of artists in the SADC region. - Hosted a roundtable in Durban (2017) to discuss the revised White Paper on Arts, Culture and Heritage as an opportunity to create community lobbying and advocacy concerns.
La mesure/initiative cible-t-elle spécifiquement la jeunesse ?: 
NON
La mesure/initiative reçoit-elle ou a-t-elle reçu un financement du Fonds international pour la diversité culturelle (FIDC) ?: 
NON
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la mesure/initiative ?: 
- Inclusion of Civil Society in the governance of cultural policy - Promote the objectives of the 2005 Convention. - Contribute to transparancy and accountability in the governance of Culture

Workshops hosted on "Network and Advocacy" and "project Management"

Nom des OSC chargées de la mise en œuvre de la mesure/initiative: 
Arterial Network
Domaines culturels couverts par la mesure/initiative: 
Cinéma/Arts audiovisuels
Design
Arts numériques
Musique
Arts de la scène
Edition
Arts visuels
Décrivez les principales caractéristiques de la mesure/initiative: 
Arterial Network hosted a series of workshops. The workshop held on "Project management toolkit" was to reflect on the state of arts and advocacy in the City of Cape Town where the workshop was hosted. This led to further presentations being made to City representatives to address collective concerns raised. The workshop on "networking and advocacy" was aimed at developing capacity in order to achieve stronger accountability and transparency in cultural programmes.
La mesure/initiative cible-t-elle spécifiquement la jeunesse ?: 
NON
La mesure/initiative reçoit-elle ou a-t-elle reçu un financement du Fonds international pour la diversité culturelle (FIDC) ?: 
NON
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la mesure/initiative ?: 
Contribute to the achievement of greater transparency and accountability in the governance of culture.
OBJECTIF 2 – Parvenir à un échange équilibré de biens et services culturels et accroître la mobilité des artistes et des professionnels de la culture: 

Cradle of Creativity

Nom des OSC chargées de la mise en œuvre de la mesure/initiative: 
ASSITEJ SA
Domaines culturels couverts par la mesure/initiative: 
Arts de la scène
Décrivez les principales caractéristiques de la mesure/initiative: 
Cradle of Creativity supports programmes of activities, building inter-continental and intercultural collaborations to ensure that the field of theatre for young audiences as a whole grows in diversity, creativity and audience appeal across the continent. Given that approximately 43% of the population on the African continent are under the age of 15, the future of theatre in Africa IS theatre for young audiences.
La mesure/initiative cible-t-elle spécifiquement la jeunesse ?: 
OUI
La mesure/initiative reçoit-elle ou a-t-elle reçu un financement du Fonds international pour la diversité culturelle (FIDC) ?: 
NON
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la mesure/initiative ?: 
Promotion of theatre for young audiences on the African continent. • Increase in touring opportunities for SA and international artists & productions. • Stimulation of an ongoing, dynamic relationship between teachers and theatre makers, with educational materials linked to curricula. • Development of an enabling environment for youth organisations & youth development, particularly in the most disadvantaged communities. • Strengthening of local & international partnerships for continued collaboration.
OBJECTIF 3 – Inclure la culture dans les cadres de développement durable: 
-
OBJECTIF 4 – Promouvoir les droits de l’homme et les libertés fondamentales: 
-
Sur la base de l’analyse des réponses fournies via le formulaire des OSC, présentez jusqu’à 10 priorités des OSC dans la mise en œuvre de la Convention pour les 4 années à venir. : 
Activity 1: ASSITEJ SA will be working on a 6 year cyclical programme which invests in the development of new work for young audiences from across Africa (Year 1), and which presents a showcase of SA, African and international theatre for young audiences work (Year 2) in an international festival to be called Cradle of Creativity, based on the success of the 2017 event. This event will take place in a different part of SA every two years, thereby stimulating different artists and audiences. One of its main focus areas is to increase the visibility of African artists and diverse forms of cultural expression for young audiences on the global stage. This will also serve as a space in which to nurture intercultural sharing, learning and exchange. Activity 2: The Pan African Creative Exchange (PACE) – a project of the Vrystaat Arts Festival supported by the University of the Free State and the Mellon Foundation – will project African artists onto the global stage through a showcase opportunity. All art forms will be encouraged, and the status of First Nation (particularly Khoi and San) artists is of particular concern. Other connected initiatives include Free State Arts and Health (FSAH), Programme for Innovation in Artform Development (PIAD), pubic art projects (PAP and Vryfees), and the Vrystaat Literature Festival. Together they aim to ensure sustainable growth for the creative industries in our region and Southern Africa. As an Afrikaans language festival, they nevertheless have a vision of ‘One festival, many stories,’ and their mission is to support the development and presentation of great art in the Free State for all - including in Sesotho and English.

Questions tranversales émergentes

Politiques et mesures pertinentes: 

Youth Filmmaker Project

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
National Film and Video Foundation
Domaines culturels couverts par la politique/mesure: 
Cinéma/Arts audiovisuels
Décrivez les principales caractéristiques de la politique/mesure: 
The Youth Filmmaker Project is an initiative to unearth new talent and voices by providing them with a calling card into the film industry under the guidance and mentorship of an experienced production team. The project is implemented over 3 years from the development of a script, production, post-production and distribution of films across varying platforms for such films. These include public broadcasters, the local and international film festival circuit as well as film competitions in and outside South Africa.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
OUI
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
All participating filmmakers must be able to write, direct and produce a short film. The appointed production company must have assisted youth filmmakers to produce short films on their own with support from mentors. The production company must execute and deliver a total of 10 short films of 24 minutes in length over the period of 3 years. Films must be distributed on television and entered into film festival competitions locally and internationally to build the profile of the filmmakers.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Natives At Large
Type d'entité: 
Secteur privé

Artists in Schools (AiS)

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
Department of Sport, Arts and Culture
Décrivez les principales caractéristiques de la politique/mesure: 
This initiative is a direct response to the lack of quality arts and culture educators and comprehensive education in the majority of the public schools in the country. While many self-employed arts practitioners have committed themselves to sharing their skills and knowledge in their communities, the potential role of Artists in School (AiS) is often not effectively realised due to skills gaps on the part of artists and educators, and a lack of awareness of their potential role and value on the part of schools.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
OUI
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
● The training programme (workshops) for the arts practitioners consists of interrelated modules or topics focusing on personal and professional skills, project planning and implementation, arts and culture education theory and methodologies, interpretation, and implementation of the Curriculum and Assessment Policy Statement (CAPS), an amendment to the 2005 National Curriculum Statement, came into being in 2012. ● Creation of sustainable job opportunities for community arts practitioners who are unemployed but have been volunteering their skills with various schools in their immediate communities. For the first time in South Africa, the participating arts practitioners are being remunerated for the services rendered in the participating school. ● It is envisaged that the work of the AiS project all throughout the academic year with the educators and learners should culminate into a Regional or Provincial arts exhibition and concert. This event, resources allowing, should be taken through all the regions of the respective provinces. Budget allowing, the national AiS exhibition will take place at a central venue to be identified by the key role players. The purpose of this endeavour will be to expose the disadvantaged communities to the arts, particularly exhibitions and semi-professional musical, dance and drama performances in the context of the development of audiences for the cultural products and programme in those provinces and at national level. The placement of the arts practitioners in the schools is generally preceded by the intensive capacity building workshops on the methodology and the relevant policy imperatives such as the CAPS. During the workshops, relevant officials from the provincial and district offices of Department of Basic Education, mainly the arts and culture subject advisors are called in to make presentations on the challenges of the implementation of the curriculum as well as all the relevant policy prescripts in the classroom.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 
Partenaires engagés dans la mise en œuvre de la politique/mesure : 
Nom du partenaire: 
Sibikwa Arts Centre
Type d'entité: 
Organisation de la société civile (OSC)
Nom du partenaire: 
Nyanga Arts Development Centre
Type d'entité: 
Secteur public

Theatre4Youth (ASSITEJ South Africa)

Nom de l’agence chargée de la mise en œuvre de la politique/mesure: 
ASSITEJ South Africa
Domaines culturels couverts par la politique/mesure: 
Arts de la scène
Décrivez les principales caractéristiques de la politique/mesure: 
The measure responds to the need that exists in South Africa for children and youth to have access to the arts, and recognizes the value of the arts as an important component of education and personal development. While the educational curriculum expects children to have access to professional theatre and other art forms as a compulsory element of creative arts, this goal is far from being realised for the majority of children and young people in SA. Theatre4Youth was devised as a mechanism to bring the relevant stakeholders together in striving to grow the industry, eradicating obstacles that prevent theatre from touring to schools and creating more opportunities for artists and audiences by actively engaging with education. The programme aimed to build greater stability for theatre companies, and to motivate teachers and learners through exposure to high quality, transformational theatre experiences. Key objectives therefore are: ● to increase access to the theatre for young audiences for children and youth in schools through developing strategies to foster collaborations between theatre practitioners and educators, ● to develop an interactive online tool “Theatre4Youth” which allows for increasing interaction between artists and schools, ● to develop and support theatre companies to increase the economic viability and quality of their output and in so doing tour productions in diverse languages to rural, inner city and peri-urban areas, and ● to raise awareness of the value of arts for children and young people through communicating about this programme and through the related “Take a Child to the Theatre Today” campaign.
La politique/mesure cible-t-elle spécifiquement la jeunesse ? : 
OUI
Le Fonds international pour la diversité culturelle (FIDC) soutient-il la mise en œuvre de la politique/mesure ?: 
OUI
Quels sont les résultats atteints jusqu’à présent grâce à la mise en œuvre de la politique/mesure ?: 
• Making arts and culture accessible to all children and young people, regardless of language, economic standing or cultural background. • Creating mechanisms for ensuring that more children and young people have access to appropriate professional theatre in their own language/s in their schools, crèches of community spaces. • Strengthening the theatre sector to be more sustainable by supporting artists to make and tour work for children and young people to these audiences. • Creating relationships between professional theatre makers and educational facilities, which will be the basis for more development in the future. • Increasing public awareness of the value of the arts for children and young people, particularly amongst the educational sector, as well as more broadly.
Ressources financières allouées à la politique/mesure en dollars américains: 
La mise en œuvre de la politique/mesure a-t-elle été évaluée ?: 
Non
Si oui, quelles sont les principales conclusions/recommandations ?: 

Challenges and Achievements

Décrivez les principaux résultats atteints dans la mise en œuvre de la Convention (au moins une réalisation majeure dans un des quatre objectifs): 
The achievements noted below are not necessarily in response to the 2005 Convention, but are significant in the context of the country’s cultural ecosystem and are aligned to the 2005 Convention. - Consultation on the White Paper on Arts, Culture and Heritage has been concluded and adopted by Parliament. The White paper looks at how cultural policy will impact on the work of other government departments and vice versa and intends to assist with coordination across multiple areas from education, to trade and industry, small business, tourism, labour and social development. - SA has a network of functioning public cultural assets in the public sector at national, provincial and local government levels in support of the cultural ecosystem. These assets range from theatres, galleries, museums, and community art centres. While regional equity has not yet been achieved, this cultural infrastructure goes some way to ensuring equitable access to cultural resources in the country. - The system of arts funding for projects and bursaries (under- and postgraduate studies) has sustained many arts organizations across the cultural value chain with a solid foundation provided by organizations in the public and private sector. These organizations include the National Arts Council, the National Film and Video Foundation, Business and Arts South Africa, the National Lotteries Commission, the Department of Arts and Culture generally and through the Mzansi Golden Economy programme, the Arts and Culture Trust, the provincial Arts and Culture Councils and local government. In addition foreign cultural agencies like Pro Helvetia, British Council, Goethe and IFAS support programmes across the cultural and creative industries, in partnership with local partners. - The South African Cultural Observatory completed a review of the best practices, methods and approaches to mapping studies, a fundamental research area for the SACO. The results of this process are summarised in the report: “South African Cultural and Creative Industries Mapping Study: Review of Methods and the Way Forward”. In addition to this three mapping studies were completed focused on these sectors: Performance & Celebration; Visual Arts & Crafts; Design & Creative Services. The SACO also developed a “Framework for the Monitoring and Evaluation of Publicly Funded Arts, Culture and Heritage”, which it has been disseminating via its online channels, to stakeholders and which provides practitioners with a framework through which to analyse the impact of sector interventions. Finally, the SACO developed both a Statistical Framework and a Forecasting Model during the 2015/16 financial year. - The customised sector programmes developed by the DTI for film and craft ensured that funds were allocated by the Department of Trade and Industry through various incentive schemes. This alignment to the Industrial Policy Action Plan (IPAP 5) and demonstrates a commitment from government to a series of structured, measured and coherent interventions in support of the cultural and creative industries. - The independent arts and culture sector is vibrant and resilient with many cutting edge programmes emanating from the sector itself as this QPR demonstrates. - National legislation related to human rights and fundamental freedoms are implemented and promote artistic freedom.
Décrivez les principaux défis rencontrés dans la mise en œuvre de la Convention et les principales solutions trouvées ou envisagées pour les surmonter: 
- Regional equity in cultural resources remains a critical problem for the sector. - While transformation and redress have been key objectives since 1994, some sectors such as the SA film and television industry post democracy remain largely male dominated with very little room especially for women to own means of production, produce content and occupy leadership positions in the content industries. - Despite the growth of funds available to support the arts and culture sector (including the DAC, the DTI, the National Lottery and business sponsorship), many arts and culture organisations remain under-resourced, under-funded and lacking in capacity. - Achieving the integration of culture in sustainable development programmes and projects has not yet been met with minimal engagement with environmental factors facing the cultural value chain. - There is fragmentation and a lack of coordination across arts and culture industry organizations as most industry associations are voluntary with little resources for activities like stakeholder engagement and advocacy and lobbying. This has resulted in limited participation by civil society with the 2005 Convention. - Monitoring and evaluation are not well integrated into programmes and projects. - Ongoing collection of statistics and data related to the cultural sector is in its infancy and is not yet comprehensive across all cultural domains. - There is currently inadequate protection or national legislation for the social and economic rights of artists. - Access to the Internet is not universal (few free Wi-Fi spaces and relatively costly) with a digital divide between urban and rural communities. - There are insufficient policies and measures to support the international flow of cultural goods and services.
Décrivez les étapes prévues pour les quatre prochaines années afin de poursuivre la mise en œuvre de la Convention et les domaines prioritaires de l’action politiques identifies sur la base des conclusions de ce rapport périodique: 
- Implement the Revised 1996 White Paper on Arts and Culture. - The Copyright Act (1978) is under review and the Copyright Amendment Bill is with Parliament for consideration and public consultation. The Bill is being lead by the Department of Trade, Industry and Competition. - The Performers Protection Act (1967) is under review and the Performers Protection Amendment Bill is undergoing revision with the Copyright Amendment Bill. - Develop a programme of activities to raise awareness about the 2005 Convention, led by the Department of Sport, Arts and Culture (DSAC). - Establish a mechanism for ongoing dialogue with civil society about the 2005 Convention and its implementation. - Develop a mechanism (template and ongoing engagements) for government departments, provinces, cities, DSAC entities, arts and culture organisations and representative bodies for reporting on policies and measures being implemented in line with the 2005 Convention for the next QPR. - Develop a user-friendly booklet for the sector outlining roles and responsibilities, as well as benefits of the 2005 Convention. - Strengthen linkages between international and domestic obligations in relation to the 2005 Convention for the benefit of the sector. - Establish a regular and structured forum with civil society and government departments for purposes of deepening the understanding of the 2005 Convention and South Africa’s obligation as a signatory.

Annexes

Veuillez télécharger en format PDF les documents (loi, politique, accord, réglementation, stratégie, etc.), les études et les statistiques pertinents, en lien avec la mise en œuvre des 4 objectifs et des 11 domaines de suivi de la Convention dans votre pays. Les documents doivent avoir été produits durant la périodique couverte par ce rapport périodique. Veuillez fournir le titre du document ainsi qu’une description de ses principaux contenus en anglais ou en français.: 

Soumission

Représentant officiel désigné pour signer le rapport: 
Titre: 
Ms.
Prénom: 
Mandisa
Nom de famille: 
Tshikwatamba
Organisation: 
Department of Sport, Arts and Culture
Poste: 
Deputy Director-General (Corporate Services)
Date de soumission: 
2022
Signature électronique: 
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