upgrading of public spaces, creating an interlinked ...

PLANNING FRAMEWORK for an Integrated Creative Arts Development Initiative (PICADI)

BY: John J Williams, PhD (Illinois, USA)

DATE: August 2015

This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 1

Table of Contents

1

General Introduction ...................................................................................... 4

2

The PICADI problem statement: the need for a special purposes vehicle ..... 6

3

PICADI background and objectives ............................................................. 10

4

PICADI arguments ....................................................................................... 19 The Growth and Development Strategy (GDS) and the Micro-Economic Development Strategy (MEDS) ....................................................................... 24

5

PICADI Planning Methodology to monitor its progress: KPAs and KPIs ...... 31

6

PICADI Proposals: provisional analysis ....................................................... 34

7

PICADI Implementation ............................................................................... 41

8

PICADI Evaluation ....................................................................................... 48


List of Diagrams Diagram 1: PICADI SPV…….………………………………………………………………..8 Diagram 2: A visionary PICADI oriented development plan for the Western Cape…..28 Diagram 3: The PICADI Infrastructure Programme……………………………………...35 Diagram 4: The PICADI Programme………………………………………………………40 Diagram 5: Flat Management Structure for PICADI…………………………………......41 Diagram 6: PICADI and Institutional Linkages………………………………………….. 42 Diagram 7: PICADI Implementation Framework…………………………………………46 Diagram 8: The PICADI Ways of workings………………………..................................47 Diagram 9: The PICADI Challenges………………………………………….……………47


PLANNING FRAMEWORK for an Integrated Creative Arts Development Initiative (PPICADI) BY: John J Williams, PhD (Illinois, USA)

DATE: August 2015 This planning framework for the Creative Arts comprises the following interrelated sections: 1. 2. 3. 4. 5. 6. 7. 8.

General introduction to PICADI The PICADI problem statement PICADI background and objectives PICADI arguments PICADI Planning Methodology PICADI Proposals: provisional analysis PICADI Implementation PICADI Evaluation

1 General Introduction The arts play an important role in human life and creative industries, a collective indictor of varied art forms, are inextricably linked to the overall welfare of humankind, its communities, cities, neighbourhoods and societies at large. It would seem that Americans have long understood this vital link between arts and social well-being. Consider, for example, the following statements, based on a pertinent report on the economic impact of the arts on American societyi:

There is no better indicator of the spiritual health of our city, its neighborhoods, and the larger region than the state of arts. The arts deepen our understanding of the human spirit, extend our capacity to comprehend the lives of others, allow us to imagine a more just and humane world. Through their diversity of feeling, their variety form, their multiplicity of inspiration, the arts make our culture richer and more reflective. Jonathan Fanton President, MacArthur Foundation This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 4

In my own philanthropy and business endeavors, I have seen the critical role that the arts play in stimulating creativity and in developing vital communities….[T]he arts have a crucial impact on our economy and are an important catalyst for learning, discovery, and achievement in our country. Paul G Allen Philanthropist and co-founder, Microsoft.

Mayors understand the connection between the arts industry and city revenues. Besides providing thousands of jobs, the arts generate billions in government and business revenues and play an important role in the economic revitalization of our nation’s cities. Douglas H Palmer Mayor of Trenton President, The United States Conference of Mayors The arts have been and continue to be an important part of Arizona’s culture. By igniting the mind, the arts can spark new ways of thinking, communicating, and doing business Janet Napolitano Governor of Arizona Chair, National Governors Association

From the preceding quotations it should be quite clear that the arts play a very important role in society. It is this revitalizing, if not transcendental role of arts, that is increasingly being appreciated in South Africa, not only nationally but also provincially and locally. This paper specifically suggests a planning framework for the creative arts in South Africa, based on the work of Development Works (2008), “Exploring Creative Industries, Objective: to conduct research into the creative industries..”.


2 The PICADI problem statement: the case of Cape Town, South Africa Uneven human development arises from a lack of co-ordinated planning across different sectors. This problematic appears to be especially true in relation to the import of the creative arts industries vis-à-vis human development in general and the economy in particular. Hence the challenge to integrate the creative arts into the development planning programme of the Western Cape to stimulate economic growth and overall human welfare.

Economic growth

Gross Geographical Product, or GGP, measures formal economic growth at the Provincial level. Between 1995 and 2004 the Western Cape economy grew at an average annual rate of 3.3% while the City grew at an average rate of 3.7%. This means that the City economy is very important for any PICADI programme. Ideally, PICADI should be linked to all local authority economies in the Provincial Administration of the Western Cape [PAWC].

It is estimated that a growth rate of between 6 and 7% (or the creation of approximately 40 000 jobs annually) is needed to reduce unemployment significantly. As the Cape Town economy constitutes 76% of the provincial economy, the bulk of this growth must come from the metro area. The strength of Cape Town’s economy is that it is well diversified. However in line with global trends, there has been a shift towards the service sector with the three most prosperous sectors being finance and business services; trade, catering and accommodation; and transport and communication. The manufacturing and government services sectors both declined between 1995 and 2004.

Unemployment has expanded rapidly over the last ten years. In this period, formal employment declined and informal sector employment increased. The This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 6

unemployed are predominately black – 62% African and 36% Coloured, and 69% are under the age of 35. The bulk of the unemployed live in the south-east sector of Cape Town.

Poverty Poverty exists when an individual’s or a household’s access to income, jobs and/or infrastructure is inadequate or sufficiently unequal to prohibit full access to opportunities in society. Poverty and unemployment continue to increase in the Western Cape. The proportion of households in the city living below the Household Subsistence Level increased from 25% to 32% between 1996 and 2001 (StatsSA). Unemployment levels in the area rose from 16.5% in 1999 to 23.4% in 2004 (Labour Force Survey).

Empowerment Indicators of empowerment include employment and household income. Census figures show a disproportionate growth in unemployment between genders and racial groups in the city, and a disproportionate growth in the number of youth unemployed. There is also inequality in the racial distribution of household income in the city. The average income of white households is about seven times greater than that of African households, and nearly three times greater than that of coloured households. In the long-term, education and skills development programmes will be the key empowerment tool. In the shorter term, public sector Black economic empowerment programmes are a key tool to address these imbalances.

In view of the preceding economic and related problems in the Western Cape, the PICADI plan focuses on: • Growing the formal developed economy and broadening participation in this economy • Growing the formal and informal economies of the poor and broadening economic participation This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 7

• Establishing economic bridges to ensure greater inclusiveness, integration of the first and second economies and redress of historical imbalances • Ensuring all residents are able to access services including government grants and subsidies • Building the human, social and operational capital of the poor In order to ensure that the PICADI plan is viable, it should be a special purposes vehicle, and ideally be located, in the Education Department with auxiliary links to allied departments such as the Economic Directorate and the IT units of the Province of the Western Cape (see pg 3) [PAWC], as illustrated here below:


Diagram 1: PICADI SPV

Department

of

Western

Economic Development

Cape Department

Education &

of

Cultural Affairs &

Department

Sport

Tourism

ICADI Special Purpose Vehicle   

 

Ongoing Research & Development Monitoring & Evaluation Establish & Maintain Creative Hubs Skills planning & oversee implementation Integrate development of creative industries across sub-sectors

Lead

learning

Department of

the

Premier

provider

College of Cape Town

Interactive Leisure Software

Publishing Design Film TV & Radi

Music Arts &

Software

computer services

Craft Film

Performing

and

&

Video

Arts Designer Architecture


3 PICADI background and objectives The Western Cape Education Department (WCED) began an Integrated Creative Arts Development Initiative (PICADI) in late 2007.

They have had several

meetings with interest groups vis-à-vis PICADI, contracted various consultants to study different sectoral aspects of PICADI such as the film industry and the crafts. This specific exercise is aimed at the construction of a viable PICADI plan based on these disparate sets of information, reports, plans and floating bodies of ideas on PICADI.

It should, perhaps, be noted at the outset, that for WCED, PICADI is about developing the economy, nation-building, healing and self-expression. They also argue that creative arts are always about liberating the human spirit, about both unleashing and training the imagination. In this context, PICADI emphasizes the need to “play to people’s strengths”, to facilitate “networking” and foster public participation in the promoting the creative industries since, in their view people/organisations see value and can align themselves to a vision” (PICADI ideas document, December 2007). In WCED’s judgment, tourism and creative arts sectors flourish or falter in varying degrees across the Western Cape Province. This assessment, suggests that arts’ practitioners are mobilized to varying degrees dependent on sector eg membership of Performing Arts Network of SA (PANSA), SA Script Writers’ Association (SASWA). The ministries and government departments of Economic Development and of Arts, Culture Sports and Recreation conduct and lead sector development according to their mandates, visions and patterns. The Western Cape Cultural Commission plays a formal role. The film industry with its pending developments is a strong roleplayer. Theatres themselves have outreach programmes. NGOs and NPOs support development. Galleries have networked and individual initiatives. Music industry/TV/Radio outreach and talent scouting This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 10

and development programmes take place. Festivals both cultivate and school both musicians and entrepreneurs. The MAPPPSETA is active.

WCED is aware that the crafts sector flourishes on the pavements and in our streets. Our performers win awards. We have a national art gallery in our midst. There are local festivals eg in Darling, Cape Town, Suidoosterfees and Oudtshoorn. There are Malay Choir competitions, minstrels, jazz festivals, schools festivals, church choirs, school choirs, university choirs, orchestras and bands. For WCED “the environment is populated” with potential, possibilities to link the various creative industries, to engender cross-sectoral synergies and to promote a more coherent approach to the creative arts1.

WCED provides the following review of the institutional state of the creative arts in South Africa general and in the Western Cape Province, in particular: Higher Education: Tertiary institutions offer fine arts courses or degrees in Music and Drama and limited pre-service training for teachers. There are private colleges such as City Varsity, AFDA and AAA which provide courses to groom our youth for the creative industries. The Higher Education forum (HESA) has decided to accept only Visual Art but not Graphic Art as a possible subject to be considered for acceptance as a student. Dance and Drama are not on the list either but Music is.

Further Education and Training Band: FET Colleges: These offer very limited courses and only in Graphic Design, Visual Art, Speech and Drama (one campus), Art and Design: however all of these courses are due to be phased out this year and there are as yet no formal replacements. Students will then be required to qualify through arrangements via

1

Creative arts and creative industries are used interchangeably in this report.


the SETAs until such time as the arts subjects move onto the “priority list” of the national department of education.

Schools in general: Numbers of schools offer arts subjects for matric but these are most commonly in the advantaged areas. Only Dance has a so-called “basket” of posts to support it. High schools offering dance are allocated a full post and primary schools share posts. Of the 39 posts, 6 are currently allocated to WCED High Schools and the other 33 posts are allocated to 66 primary schools spread unevenly across the Western Cape. The uneven spread is historical with the majority of primary schools located in EMDCs South and Central.

Focus Schools: The WCED has introduced 10 Focus schools for Arts and Culture. It is the intention that each focus school will in time offer tuition in each of the 4 disciplines. This embryonic development node offers much potential. It is important for this initiative to be conducted scientifically and in a way which is informed by the market place. The schools need to attract talented youth, to develop their potential appropriately, and then to ensure that they are directed to careers and further outlets for their talents, in ways that serve both individual need and the economy at large.

Specialist centres: the WCED has a limited number of specialist centres for visual arts (eg Frank Joubert, Battswood) and for music (eg BeauSoleil, Frank Pietersen, Hugo Lambrecht). These schools variously offer specialized tuition after school hours which enables learners from a number of schools to offer various art subjects up to matric level. Teachers from certain of the centres also serve as itinerant teachers at schools during the school day. These centres span both General and Further Education and Training Bands.


General Education and Training Band: All learners in the province do nine years of general “Arts and Culture”. The course includes the four disciplines of Dance, Drama, Music and Visual Arts. Because in-service teachers do not have proper training the delivery of this learning area is patchy. The more affluent schools pay individual specialists to come in and run classes.

Because even the pre-service training in this regard is poor/uneven the outlook for genuine growth and development is affected. The “generalist” model means that learners can’t start with specialization at Grade 8 level - this has had a serious impact on the numbers of learners taking, and succeeding in, most particularly, music as a subject. Staffing is a problem: small class sizes in one room mean large class sizes in others and this has impacted on staffing of music sections. Costs of instruments etc have also prevented disadvantaged schools from switching to music as a subject option.

Very limited Arts and Culture in Adult Basic Education and Training (ABET) /Adult Education (AE) sector. Confined predominantly to crafts in the Adult Ed sector.

From the preceding institutional review of creative industries, it should be clear that, in South Africa, in general, and the Western Cape Province, in particular, the creative industry though in many instances quite vibrant, exists largely in splendid isolation. This paper seeks to bring some co-ordination to this state of affairs where often creative industries, which are, clearly allied, operate independently of one another, for example, Music, Dancing & Film sectors. Seemingly the key problematic in this regard is the lack of common understanding among related industries and that they can potentially co-exist and co-operate across traditional boundaries. For this cooperation to occur, however – ideally in a seamless manner – a formal re-orientation of them is required. And, in our judgment aligning/ and or re-prioritizing creative arts is an imperative. This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 13

But before a seamless alignment of creative arts can be attempted it is important to have, at least, some definition of “creative industries”. A definitionii of the creative industries encompass all those areas of social and economic activity that are premised on – or closely allied with: Individual or collective intellectual or artistic creativity; innovation and originality that have the capacity to provide work and generate income for the original creators. (MEDS) A cluster of inter-related activities that include: film, craft, music, fashion, performing arts, visual arts and design services such as architectural services, advertising, animation, graphic and industrial design that are based in culture and art.

International benchmarking and Creative Industries

Most planners in the creative industries seem to be following the classification or taxonomy of the UK, by dividing art forms into 13 sub-sectors, viz: 

Music



Publishing



Arts and Antiques



Crafts



Design



Designer Fashion



Film and Video



Interactive Leisure Software



Performing Arts



TV and Radio



Architecture



Software and computer services




Advertising

This report draws on the preceding definition and circumscription of creative industries with specific reference to their place and role in generating sustainable livelihoods. Robert Chambers defines livelihoods not only in relation to financial capital but also in relation to social capital, cultural capital and symbolic capital. These forms of capital play a dynamic role in sustaining the live chances of especially ordinary people (their welfare at grassroots level). Here one can readily refer to the craft industry which in many developing countries constitutes a very important dimension of the informal economy eg in Mexico, Brazil, Bangladesh, India and in the case of Cape Town, a leisurely walk down Adderley Street would demonstrate how foreigners, from other African countries are dominating this market. Entrepreneurial training in all phases of the curriculum can do a great deal to reorient this domination of this industry by foreigners to benefit also the unemployed people of South Africa. Such reorientation, however, would require a mental shift that would define the craft industry not merely as part of the informal economy but, conceptually and in practice view it as part of the formal economy. In this instance, the establishment of kiosks (curio stores) illustrates the potential of this industry in the formal economy. Countries such as the USA, France, Spain, Portuguese, the UK and Canada derive a great deal economic dividends from of the formalization of the craft industry. This means, that in the South African context, the stigma attached to a person or person’s work being part of the informal economy, should be vigorously fought by linking creative industries directly to the formal economy.

The market oriented approach would apply to all of the creative industries such as music. However, it should be noted that art can never be reduced to its market value, as its intrinsic human and humanizing value should not be underestimated. In this instance there should be a databank of all those individuals would perform in clubs, street theatres for a pittance, so as to formalize the This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 15

relation with the market. There should be protocols in place

in terms of the

demand-supply chain.

With a view to overcome seasonality of a particular creative art it would be advisable to expand the repertoire of available artistic skills, into other allied areas such as music and dancing, performing arts, craft industry and creative writing. In doing this there will be a structural link across the different forms of creative arts.

This cross fertilization of skills will not only enhance the

employability of the creative artists but will contribute to the sustainability of a person’s livelihood and the multiplier effects for the broader economy would be significant, as borne out by Tables 1 and 2 here below.

Table 1 below shows the global market value for selected creative industries from 2001 to 2005, with estimated growth for 2010, in current US$ millions. iii


Total

1994

1995

1996

1997

1998

1999

2000

2001

2002

Average

in

annual

US million $

growth

exports

rates,19942002

Low-income

143.9

210.9

225.6

292.1

309.5

349.0

462.1

274.5

329.0

10.9

1,734.4

2,171.3

2,616.4

2,983.7

3,195.9

3,546.3

4,253.0

4,5772.

6,411.1

17.8

economies Lowermiddle

2

income

Table1: Trade of core cultural goods by level of economy income in current (US$)


economies 1,207.2

1,510.8

1,693.6

1,719.6

1,746.5

1,700.9

1,538.2

1,999.3

3,005.4

12.1

High-income

33,136.

38,256.7

39,437.

41,113.3

41,779.

45,288.

44,944.0

40,651.

44,920.

3.9

economies

9

6

4

2

9

Total of all

36,222.

47,031.

50,884.

47,502.

54,666.

available

5

4

5

3

4

Uppermiddle economies

6 42,149.8

43,973.

46,108.8

3

51,197.3

countries

Source: UNESCO Institute for Statistics based on data from UN Comtrade DESA/UNSD, 2004. p 22 of Development Networks (2008).

Table 1 above demonstrates that the creative industries do not contribute substantially to the income in poor countries.

Table 2: Global market value for selected creative industries current (U$ millions) Creative Industry

2001

2005

Estimated for 2010

Films

64,169

80,473

104,060

Television distribution

109,953

154,351

230,282

Television networks

127,048

164,222

226,577

Recorded music

39,008

37,123

47,927

Video games

20,631

27,054

46,462

Magazine publishing

92,758

98,453

117,585

Newspaper publishing

167,775

178,760

208,129

Book publishing

103,419

112,953

130,533

Sports

68,427

86,298

120,900

Internet advertising

65,617

144,513

265,561


5.3

Business information

71,112

78,022

101,226

TOTAL

929,917

1,162,222

1,599,242

Source: Pricewaterhouse Coopers LLP (June 2006). Cited p 23 of Development Networks (2008).

4 PICADI arguments Integrated planning development is key to human development. Hence the import of all the different creative arts industries and their link to human welfare in South Africa in general, and the Western Cape Province in particular. The following dimensions are the primary issues that need to be grappled with in this regard as they have to do with a major paradigm shift in understanding of the sector:

The first point that has to be made is that creative industries are industries that can support sustainable livelihoods. This means that the somewhat archaic idea that the arts do not play a role in the material welfare of humans should be dislodged not merely structurally – ie what counts as an economic asset – but by reviewing educational programmes to acknowledge the management skills required by creative industries. In short, the arts are a public good, worthy of support. Hence the need to review the funding status and educational significance of the creative arts and their relationship with the Lottery, from the National Arts Council, National Film and Video Foundation, Business and Arts South Africa and international arts funding bodies and donors.

In brief the funding dependency syndrome of the creative arts should be addressed via their pedagogical reorientation and integration into the broader spectrum of human development indicators.


And, whilst it might be true that companies formed in terms of Section 21 of the Companies Act or organizations that have registered with the NPO Directorate of the Department of Social Development have to operate within strict guidelines, this does not prevent the organization or company from generating profits, provided that these go back into the organisation’s long term sustainability, rather than into the bank accounts of the board members or the people who work for the non-profit organization. However, as suggested above, the very notion of being a “section 21 company” leads to dependency as it perpetuates the myth that such a company must “just break even” at best.

It would seem that one of the major challenges for the creative industries is the economic law of “demand and supply’. Here the question is: do artists supply the products – of beauty, aesthetics and truth – potential customers would buy? And to what extent should their creative talent be commodified. It would, seem, however, that a delicate balance should be struck between products that can be bought, such as books, CDS, and the right of artists to pursue their professions “for art’s sake”

In this regard a PAWC report states Artists are trained to create. They are taught all about “product development”. However, our arts-related training institutions generally do not equip artists with business skills, entrepreneurial knowledge, marketing expertise, financial knowledge and the capacity to raise capital for a variety of reasons. These include historical reasons where artists did not need to have such skills as they went to work in institutions that were heavily subsidized, and all these things were done for them. Secondly, those who teach in our institutions generally have no experience of entrepreneurship within the arts themselves, coming as they do, from a history of a subsidized or non-profit arts sector. Thirdly, artists generally wish to do what they were trained for i.e. to create and produce, and do not want to be This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 20

bothered with the other aspects of bringing their work to a market. The majority of artists would consider it a contradiction of their calling, a compromise of their artistic integrity to create something that satisfies a market, rather than something which arises first and foremost from their “internal well of truth and beauty.

It is for the aforementioned reasons that economic sectors are usually divided into two, viz:

a. the commercial sector i.e. those products that are created mainly with the motive to generate profit in the knowledge that it will attract a particular market and

b. the subsidized sector i.e. those arts and creative products that require public support in order to see the light of day, as i) they have social value but will not be able to attract a market to make them financially viable or ii) the nature of the activity, the expense of creation and production means that they will never recover their costs even if they attract capacity markets, and therefore will need public-sector support, while still generating box office returns e.g. opera seasons are expensive to mount given the size of the casts, the use of live orchestras, etc, but because of the strain on the voices of artists, opera seasons are generally short, too short to recoup the lay out costs.

Even so, non-profit companies create jobs, provide skills and experience, create social value and provide a secure base and platform from which individuals may pursue other income-generating, profit-making opportunities. For example, given the nature and size of an orchestra, such forms of artistic activity will probably always be subsidized to some extent: this is the practice the world over. It has been established in a report submitted to PAWC that the “total of the operating expenditures of all South Africa’s NPOs was R9,3 billion in 1998, This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 21

representing 1,2% of the 1998 GDP”. The report quotes existing research that the NPO sector employed the equivalent of 645 316 full-time workers, exceeding the number of workers in the mining industry, as well as exceeding the total number of civil servants in national departments and being nearly three times the number of workers in the financial, insurance and real estate sector. It is also a sector that has a large number of volunteers, with nearly 1,5 million volunteers actively involved in South African NPOs in 1999. The study, quoted by the researchers, estimates the contribution of these volunteers to be the equivalent of 316 991 full-time jobs, worth R5,1 billion. The study found that there were 98 920 NPOs in 1999. Of these, 20 587 NPOs (21%) were in the culture and recreation sector, and of these, 5172 (25%) were arts and culture related. Clearly, as with the creative industries generally, the NPO sector makes a substantial contribution not only to social well-being, but in economic terms by employing large numbers of workers, providing them with regular salaries, and so creating markets for other products.

Gap analysis: and the implications for PICADI PAWC’s data base does not refer explicitly to the link between creative industries and the spatial orientation of human activities, that is, the distribution of creative industries in geographical space and their relationship to the creation of vibrant communities. Hence the need to suggest the following measures to fill these informational gaps, viz:

Upgrading of public spaces, creating an interlinked public open space system, developing multi-purpose parks and centres, landscaping, and the development of “special places

Creating, consolidating and expanding Dignified Places (DPs) aimed at promoting “dignity” through the public realm, with a particular focus on poor and disadvantaged parts of the city, to allow for spaces where “people can meet and This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 22

gather or just sit in a place that is attractive and comfortable as any well made, positive place in the city” (Southworth 2002. 125.) DPs should focus on “structurally significant places where people spend a lot of time” which include transport hubs, community facilities as well as places of symbolic significance and “places which have the potential to integrate the city, promote accessibility or establish a new positive sense of place.” (ibid).

DPs should aim for balance, de-emphasize technical/formal planning and promote a minimalist approach, encouraging freedom, equitable access to the resources and opportunities of the local authorities, enabling complexity, integration, and community. In this regard, Roy (2005) in considering how to locate the production of theory and policy in the cities of the developing world suggests using the notion of “Informality” (a feature of many developing countries) as a mode of urbanisation, (a “way of being”). Amin and Thrift (1995), Healey (2000, 2002), and are some of the many theorists calling for greater engagement with an urban governance which stresses connectivity, participation and other collective forms of re-imagining cities and planning and managing of urban systems and urban development process. They propose the building of a social milieu that stretches across public and private divides, that results in high levels of interactions between a broader range of actors and a mutually formed common purpose, of prioritising notions of “institutional capital” building (intellectual, social and political) (Healey 2002), building an “institutional thickness” (Amin and Thrrift 1995) that empowers localities in finding their own effective (socio-) economic solutions, in the face of intensifying rigid, regulatory pressures. In this instance deliberative democracy in India (Kerala) and Brazil (Porto Alegre) where grassroots structures and social movements were allowed to “scale up…[and were] given state support flexible spatial forms seem to be a creative alternative to the more monotonous, orderly spatial forms . What is important here to bear in mind is that flexible spatial forms are underpinned by “associational dynamics and capacities of local actors”, and are not a “linear” This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 23

planning process but requires a delicate balance between institution building and grassroots participation within an environment where everyone feels welcome and supported. This does not mean less regulation per se, but greater state involvement in an integrated/co-ordinated manner, resulting in spatial forms that are ‘enabling’ or ‘facilitative’

This means that the PICADI plan interrogates the allocative, authoritative and discursive practices at play in the province and the resources attached to these (Giddens 1984: p258). This needs to happen in parallel with a commitment to find more productive forms of deliberative democracy then the technocratic ones in use, which sees community as monolithic, both in terms of area representation and in terms of industries to facilitate the establishment of flexible spatial planning in the province.

Most importantly, perhaps, it should be borne in mind that flexible spatial forms are a form of ’discussion based’ democracy - one which calls for the deliberation of citizens as reasonable equals in the legitimate exercise of authority” (Baiocchi: 2001: 45).

Ultimately, flexible spatial forms, are a testimony to sustained

practices aimed at including a multiplicity of opinions, as provided for by the provisions of the South African constitution, Act 108 of 1996, subsection 152a-e and the . South Africa’s Municipal Systems Act (no. 32 of 2000) where the emphasis is on public participation in planning at grassroots .Hence the import of the Growth and Development Strategy (GDS) and the Micro-Economic Development Strategy (MEDS) to encourage all-round human development in South Africa in general, and in Western Cape, in particular. The Growth and Development Strategy (GDS) and the Micro-Economic Development Strategy (MEDS) One key consideration in formulating creative industry policy recommendations to the Western Cape Department of Economic Development and Tourism, it was deemed important to emphasize the synergies with the province’s Growth and This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 24

Development Strategy (GDS)iv and its associated Micro-Economic Development Strategy (MEDS)v. The latter is one of the ten main strategies that the GDS will try to use to achieve its aims and includes strategies and future actions in relation to creative industries development. Two of the five GDS’s five major goals are directly relevant to the development of creative industries in the Western Cape:

Goal 1: Grow and share the economy Broadening economic participation and poverty reduction: Of a select group of industry sectors, the creative industries in the Western Cape have been identified as a high-potential sector to increase economic participation

Efficient and effective infrastructure This infrastructure particularly refers to ICT development to assist businesses, particularly SMEs, to be better connected to provincial, national and world markets. Improved technological infrastructure creates greater networking and collaboration opportunities, thus increasing the likelihood of building social capital. Goal 2: More equal and caring society Enhancement of human capacity Investing in skills development is seen as a key necessity for developing the Western economy – in fact it is a priority intervention, particularly in meeting the demands of those industries that are growing in the provincial economy (for example, the creative industries).

A focus on skills related to business and

entrepreneurship are essential here. These skills should be provided via FETs so that the MEDS vision for the creative industries can be achieved.

The MEDS envisions facilitating 42,000 work opportunities by 2015 in the creative industries and identifies five major impact areas.vi Briefly, these impact areas and their related strategies are: This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 25

Investment recruitment Strategies: partnerships, sponsorship, attracting major investors Marketing Strategies: Western Cape events, export and exposure of Western Cape products, domestic audience development strategy. The GDS emphasises the 2010 FIFA World Cup as a key project for the Western Cape. This will also be a key marketing opportunity for the creative industries in the province. Infrastructure Strategies: for audience infrastructure Strategic competitiveness Strategies: sub-sector forums to form public-private partnership, Centres of Excellence, Design Centres to enhance standards, market research networks Skills Development Strategies: artistic development in schools, commercialisation through business, SME and entrepreneurial development, through FETs curricula development, student training and placement programmes.

PICADI, when developed optimally, would eventually give rise to a greater degree of even socio-economic development across the different human development sectors in South Africa in general, and the Western Cape, in particular. These multi-layered development processes via PICADI are depicted in the planning framework here below, comprising a range of strategic interventions that emphasize the interrelated nature of safer human settlements, settlements of and for learning, healthy, caring and inclusive settlements, flexible and successful settlements, informed and involved people, and accountable forms of governance. Hence the need to provide appropriate: • • • • •

Financial Support: - revenue bonds - revolving loan funds and below market rate loans - tax incentives - loan guarantees and / or equity participation


• • •

- investment packages - financial assistance to small firms - community banking / group loan schemes

• • • • • • •

Land and Building Development: - provision of infrastructure and land - land acquisition - the provision of workshops and small industrial premises - enterprise zones with tax and planning concessions - urban regeneration - agricultural support

• • • • •

Information and Marketing Assistance: - supply of information and advice - general marketing and promotion and image reconstruction - targeted marketing of products or areas - export promotion Access and utilize:

•

• • • • • • • • • • • • • •

The consolidated Municipal Infrastructure Programme run by the Department of Provincial and Local Government (DPLG) Working for Water Programme run by the Department of Water Affairs and Forestry SMME Development programmes run by the Department of Trade and Industry (DTI) Housing Subsidy Scheme The Community Based Public Works Programme run by the Department of Public Works The Ten Point Plan run by the Department of Public Works Bus Subsidies Programme run by the Department of Transport The Social Fund/LED Fund administered by DPLG The Municipal Service Partnership programme run by DPLG The Department of Agriculture and Land Affairs’ Landcare Programme DPLG’s Rural Pilot Programme Equitable Share funding for Local Authorities Child Support Grants distributed by the Department of Welfare The Local Industrial Park (LIP) programme run by DTI DTI’s Industrial Development Zones (IDZ) initiative and Spatial Development Initiatives (SDI) programmes Employment and skills development services offered by the Department of Labour DTI’s supply-side measures Arts and Culture Craft Programmes


•

Tourism Programmes

The preceding interventions thus call for a rigorous Economic Strategy of which PICADI should form an important part and the need to build community capital to create sustainable communities, as suggested in the next section: Internationally, it has been suggested that strengthening six forms of community capital is the foundation for sustainable community development, byvii: Minimizing the consumption of essential natural capital means living within ecological limits, conserving and enhancing natural resources, sustainable resource management (soil, air, water, energy, agriculture, etc.), cleaner production, and minimizing waste (solid, liquid, air pollution, etc). Improving physical capital includes focusing on community assets such as public facilities (e.g., hospitals and schools), water and sanitation, efficient transportation, safe, quality housing, adequate infrastructure, and telecommunications. Strengthening economic capital means focusing on: making more with less— maximizing use of existing resources (e.g., using waste as a resource), making the money-go-around—circulating dollars within a community, making things ourselves—replacing imports, making something new—creating new products, trading fairly with others, and developing community financial institutions. Increasing human capital requires a focus on areas such as health, education, nutrition, literacy, and family and community cohesion. Basic determinants of health such as peace and safety, food, shelter, education, income, and employment are necessary prerequisites. Multiplying social capital requires attention to effective and representative local governance, strong organizations, capacity-building, participatory planning, access to information, and collaboration and partnerships. Enhancing cultural capital implies attention to traditions and values, heritage and place, the arts, diversity and social history. Hence the need to focus on community engagement in PICADI as such participation:  Focuses on arts-based solutions, rather than on identifying problems  Involves strategy shapers in planning  Forms and maintains new social networks with organizations, groups, artists, and government  Creates and maintains public spaces that draw people together  Supports multiculturalism  Integrates local customs, crafts, and practices into education


         

Uses arts and culture as a tool for regeneration and sustainability Enhances residents’ ability to work and communicate with others Builds community identity and pride Supports positive community norms, such as cultural understanding and free expression Improves human capital, skills, and creative abilities in communities Increases opportunities for individuals to become more involved in the arts Contributes to the resiliency and sustainability of a community or people Reduces delinquency in high-risk youth Integrates the community into community art projects Fosters trust between community residents

In addition, community driven arts projects                

View residents as experts in their community Foster common experiences that express a sense of place Create and support local strategies, development, and economic strategies Build self-reliant communities Increase community participation and dialogue Support and build community infrastructure Advise, mentor, and build networks and trust in communities Build partnerships with community members and with local government, businesses, and organizations active in the community Collaborate with a broad range of partners (for example, housing) Encourage residents to take ownership over their own community resources and identity Provide experiences for participants to learn technical and interpersonal skills, which are important for collective organizing Create public spaces that draw people together who would otherwise not be engaged in constructive social activities Support activities and events that create a source of pride for residents and increase their sense of connection with their community Increase quality of life in communities Engage fellow allies in the community decision-making process Provide an experience of getting large groups of people together to spur further collective action in communities

Diagram 2: A visionary PICADI oriented development plan for the Western Cape


• SUSTAINABLE STRATEGY/PLAN

• EDUCATION DEVELOPMENT PLAN

• CRIME AUDIT

• BEHAVIOUR SUPPORT PLAN

• CRIME AND DISORDER STRATEGY

• EARLY YEARS DEVELOPENT PLAN

• LOCAL AGENDA 21

• YOUTH AND CULTURAL STRATEGIES

• WASTE MANAGEMENT STRATEGY

• LIFELONG LEARNING

• YOUTH JUSTICE PLAN • AIR QUALITY REVIEW AND ASSESSMENT

Safer, Cleaner, Settlements

Settlements of and for Learning

• CHILDREN’S SERVICE PLAN • FAMILY SUPPORT STRATEGY

• ASSET MANAGEMENT PLAN • CAPITAL STRATEGY • INVERSTORS IN PEOPLE • IT STRATEGY

Accountable forms of Governance

ICADI

• EQULITY ACTION PLANS

Healthy, Caring and Inclusive Settlements

• QUALITY PROTECTS • HEALTH IMPROVEMENT PROGRAMME • JOINT INVESTMENT PLAN • COMMUNITYCARE PLAN • HOUSING INVESTMENT PROGRAMME

Informed and Involved People

Flexible and Successful Settlements

• DEVELOPMENT PLANS • TRANSPORT STRATEGY • LOCAL TRANSPORT PLAN

• WARD DEVELOPMENT PLANS

• ECONOMIC DEVELOPMENT PLAN • ECONOMIC STRATEGY • TOURISM STRATEGY • AREA REGENERATION STRATEGIES

Source: John J Williams, 23 August 2015


5 PICADI Planning Methodology to monitor its progress: KPAs and KPIs Production Sources

Production factors

Land use and zoning

Sites

Relations

Availability

Requirements “Availability” definition needed; available through Land Use

 

Land available for development

Bulk factors? Available through

Vacant land

Zoning: difficult to map at metro scale





Planning permission multiplier

Land Use; need to aggregate LU codes

Distribution of land use


Labour

Skills

Information

Hospitality Management:

Arts, heritage

culture

and

   

    

 

Tourist attractions No. of monuments Insensitive development resulting in a loss of heritage An increase or decrease in the no. of unauthorized building work incidents in heritage areas The number of Illegal demolitions An increase or decrease in the no. of trees being felled illegally in heritage areas Formulation of policy and regulations No. of staff allocated to heritage resource management Proactive measures to raise awareness of heritage amongst the consultants, community, Councilors and officials, such as the 'Production of heritage pamphlets and distribution thereof' Formation of specialized community groups attached to ratepayers organizations Number of heritage projects being run


   

Funding allocated to heritage projects Studies of new heritage areas (for heritage area designation) New heritage areas proclaimed Heritage staff morale

Directorship and management support for officials on heritage issues

Technology

Networking

Infrastructure

Access

Capital

Finance


6 PICADI Proposals: provisional analysis It is generally accepted that creative industries are becoming increasingly significant economic sectors, often contributing considerably to national or regional GDPs and with impressive capacity for output – for example in the UK and Berlin. In a report prepared for the Provincial Administration of the Western Cape, it has been demonstrated that in the UK, Auckland and Singapore, growth in the creative industries has been greater than the growth of the national or regional economy as a whole. As economies generally move towards being fuelled by knowledge-industries, it can be argued that the creative industries are playing a key role in this transition.

Even so, the authors of the aforementioned report cautions that measuring the accurate economic impact of the creative industries remains challenging. They draw attention to the fact that “the very nature of the different sub-sectors and the often casual and hidden work that makes up a significant proportion of the industries means that any assertions of positive economic growth must not be taken as a given. Indeed, in the one case study that showed creative industries as experiencing negative economic growth (Hong Kong), there was suggestion that limiting tools of measurement could be one possible reason for the seeming lack of creative industry growth”.viii

Employment growth and new businesses

Another aspect that has to be borne in mind is that whilst employment figures are more easily identifiable, fewer studies give information on numbers of new businesses. It would, however, seem that “positive employment growth in the creative industries” is increasingly the case where such industries exist especially in countries such as the UK, Auckland and Singapore. Even so, it is still true that This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 34

employment growth is often concentrated in select sub-sectors - particularly, for example, in the IT and Software sectors as is the case, for example, in the UK, Berlin and Singapore.

Linkages and impacts on the wider economy

It does not seem to be easy to track direct linkages and impacts of creative industries on the wider economy. Even so, they surely do make a contribution as in the case of the UK and Singapore. For example the link between creative industries and tourism is pretty much axiomatic.

Policy approaches

Governments tend to have one key department which is responsible for overseeing the development of creative industries, but co-ordination with other departments, though often sought and encouraged, is not that easy. What is, however, beyond dispute is that there are common policy approaches to the creative arts across the globe.

One of the major problems in developing countries appears to be the lack of access to management skills and business support.

International literature suggests that there are several key issues that underpin successful creative industries, viz

Mapping creative industries Having accurate, up-to-date and informative data on the scope, scale and impact of creative industries is seen as vital across the globe.


Business support mechanisms The need for solid business support for SMEs is a consistent recommendation throughout the research, no matter how advanced the creative industries sector. Challenges faced by creative industries include: lack of cheap office space, lack of access to technological infrastructure and lack of finance.

Co-ordination across the sectors Some countries or regions have as many 16 creative industry sub-sectors. A common complaint is the lack of cohesion and co-ordination across sectors. Policy recommendations often include the need to establish some kind of creative industries body, or a variation thereof (a special purposes vehicle). This body would act as a resource for current information, would co-ordinate activities across sectors, and could examine the different needs of creative industries to feed into policy development.

Business skills Whereas smaller creative enterprises may have a lot of talent, governments have identified a strong need to develop the specific business skills of those in the sector (including marketing, filling in tax returns and attracting private business investment).

Regulation and Intellectual Property Rights (IPR) Developing countries face particular challenges in terms of having to operate in complex

regulatory

environments

and

with

weak

copyright

legislation.

Enforcement of intellectual property rights is especially difficult, due to incomplete legislation.

Thus IPR is one of the key focuses for creative industry policy

development in developing countries.

Raising the profile of creative industries There is a proliferation of creative industries, enterprises, individuals, groups but their profile needs to be raised. Governments can play a role in showcasing This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 36

creative industry talents and providing access to further business opportunities and investment and attracting public-private partnerships.

Networking support and creating partnerships Across the globe, increasing network opportunities is seen as a valuable way of pooling resources, sharing ideas and developing creative initiatives.

Developing creative spaces Some regions focus on developing creative spaces or places: this might be the promotion of creative quarters in CBDs, a ‘creative town’ or ‘cultural district’ initiative to serve as a developmental model for the rest of the country, or creative development in violent or disadvantaged areas to increase communities’ access to creativity. In the case of South Africa in general, and the Western Cape, in particular the spatial implications of creative arts are encapsulated in the proposed PICADI infrastructure Programme here below:

Diagram 3: The ICADI Infrastructure Programme

ICADI Workplace 2013

e - HR IT services

Step change in government infrastructure

Training services Broadband

Accounting Public access to services



Workplace 5 years hence: 2013 – Impact of IT: Introducing a modern, flexible workingenvironment which will be predominantly open plan and where space will be allocated by function not by grade

E-HR and PICADI: Streamlining HR Services through greater empowerment of line managers & a single outsourced service centre

IT services: Greater co-ordination & coherence in IT networks through a single corporate service

Training Services: Rationalising & maximising NICS resources To ensure most efficient delivery of training services

Accounting: A centralised accounting system for all departments and a shared service centre for processing all planning and operational expenditures

Public Access to services: A strategy for providing unified access to public sector services through electronic, telephone and face to face channels

Broadband: A single civil (public?) service broadband network

Conclusion: Step change in government infrastructure

The proposed PICADI infrastructure programme implies that there must be an emphasis on the sub-sectors of the creative industries. The rationale for this emphasis is elaborated in the ensuing sections: This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 38

Flourishing sub-sectors The focus of many countries is to combine the creative industry with the information technology sector (IT). Technologically centred creative industries, such as software, advertising, media, design, film and music are a particular focus in both advanced and emerging economies. Since the IT and the creative industry sectors rely heavily on intellectual capital and people’s talent, they therefore contribute significantly to the knowledge economy. The creative industry’s capacity to grow output, employment and new business creation: Output, employment and new businesses Extant statistics suggest that creative industries have the potential to impact positively on output, employment and business creation. Contributions to national or regional GDP have been noteworthy and there is evidence that growth of creative industries has outpaced overall growth of national or regional economies. By 2010, Asia is predicted to record the greatest global growth rate in the entertainment and media industries, with an increase from US$274 billion to US$425 billion between 2005 and 2010.ix

Employment growth in the creative industries often exceed the national employment growth, particularly in the IT and software industries. One example, is the United Kingdom. In the UK, the creative industries employ 1 million people - 2.7% of total employment.x It is generally agreed that the UK has recorded significant growth in new business start-ups. New businesses contributed to £31.8 billion of the £66.4 billion total turnover growth for the creative industries between 1995 and 2005. It would seem that business start-ups have been most prolific in the software and games, the television and radio and the film, video and photography industries.

The linkages and impact of the creative industries on other sectors of the economy:The wider economy


Whilst data on the linkages and impacts of creative industries on other sectors of the economy is scarce, however, where this information is available, ‘multipliers’ have been found to be significant. In the case of Singapore’s architectural services as well as the broadcasting media and performing arts industries possess both high output (1.66 and 1.68 respectively) and VA (0.70 and 0.62 respectively) multipliers.xi The architectural services industry has a strong demand for other services

such

as communications, financial services,

real estate

and

consultancies, resulting in a high output multiplier.

In light of this international experience and in the context of the Western Cape’s Micro Economic Development Strategy (MEDS) five policies have been recommended to the provincial government of the Western Cape (Development Works, 2008, 5-10): The commission and facilitation of a comprehensive mapping exercise into each of the Western Cape’s creative industry sub-sectors in each of the six subregions.

A mapping exercise would generate a better understanding of the different subsectors and the level and potential of employment and economic impact in each. In addition to baseline quantitative data, the mapping exercise could include extensive interviews and surveys with those working in the creative industry subsectors to identify specific needs and challenges.

The creation of a formal creative industries body to represent and co-ordinate the interests of the creative industries sector. This body could facilitate awareness and co-ordination of activities across the different sub-sectors. A creative industry body could act as a resource to provide industry information, business support, services and training and as an advisory mechanism to provincial government on developments and opportunities in the sector. The composition of the body should be broadly representative of This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 40

stakeholders within the creative industry sectors and include some government representation.

Raising the profile of the creative industries. This would entail conducting awareness campaigns, sourcing sponsorships, arranging high-profile events, producing e-newsletters, and the development of a creative industries directory to understand and promote the strengths and economic potential of the creative industries. Some spin-offs of this would be attracting investment, increasing opportunities for partnerships and improved networking.

Investing in business support infrastructure and other mechanisms. Business support is crucial for SME development and infrastructural initiatives could include consistent and accessible internet facilities, finance services, office space, tax incentives and mentorship programmes between business leaders and creative entrepreneurs.

Improving the availability of, and access to, business and entrepreneurial skills development. Creative industry actors should have access to flexible methods of training and to programmes that enhance the following types of skills: business management skills, computer and internet skills, marketing, brand awareness and arts administration.

7 PICADI Implementation This report thus far dwelled on the international benchmarking vis-à-vis the creative arts as well as a gap analysis of the spatial implications of the creative industries for the Western Cape Province. These spatial implications of creative industries will necessitate a range of reforms, as depicted in the ensuing diagram:


Diagram 4: The ICADI Programme Public Administration

Investment Strategy

Planning Reform

Education Reform

Land use Reform

Management Reform

IT Reform

Services Reform

Proposed Civil Service Corporate Projects Common Infrastructure Projects

Job creation

Student placement

Access to services


It is important to note that the proposed public administration and investment strategy reforms are linked to specific civil service corporate projects such as common infrastructure projects, job creation, student placement and access to services. However, these corporate projects should be managed by a flat structure and not in a hierarchical manner where powerful managers often ‘guard their own turf’ and do not communicate with one another. A flat management structure would encourage transparency, democratic practice and networking in relation to policy making, the allocation of financial and related resources to the PICADI special purposes vehicle, as depicted in the diagrams here below:


Diagram 5: Flat Management Structure for PICADI

Control

Work procedures

Personnel

Financing

Organising

Policy-making

Management

Head

Middle level Lowest level Administrative activities

Functional activities



Diagram 6: PICADI and Institutional Linkages

ICADI

l ta

cie So es lu va

Skills

ati

rm fo

Technology

PROCEDURE ANALYSIS

MAN

AGEM ENT

rm s

M on ENT AN M E G A A N G PO LMA LIC EME RO M T AK YN NT CO ING IN G L MANA GEMEN T

ica l no

mm un ica ti

FINANCING

Et h

Co

M NT AN ME A GE GE EL ORG NA NN A N ISIN MEN MA ERSO IN P M G T AD

and

sta nd ard s

g

orkin Netw

on

In



PICADI TIMELINE: 2008-2013 community context, history, culture and existing resources

Specific reference to impact on: community well-being, community involvement and community interest levels, budget spent and outcomes reached 2008

2009

National Sphere Cultural

Referents Cultural

(products), Non

2010

profit

National

Referents Cultural

(products), sector, Non

2011 Referents Cultural

(products),

profit

sector, Non

Youth National

2012

profit

Youth National

Referents Cultural Referents Cultural

(products), sector, Non

2013

(products),

profit

Referents

(products),

sector, Non profit sector, Non profit sector,

Youth National

Youth National

Youth National

Youth

Development Forum, Development

Development

Development

Development

Development

National

Forum,

Forum,

Forum,

Forum,

Commission, Umsobomvu Fund,

Youth Forum, National

Department

Youth National

Youth National

Youth Commission,

Commission,

Commission,

Commission,

Umsobomvu

Youth Umsobomvu

Youth Umsobomvu

Youth Umsobomvu

Fund,

Fund,

the DTI, Department Fund, of Labour,

Youth National

Youth National

Youth Fund,

the DTI, Department the DTI, Department the DTI, Department the of of

Labour, of of Department

Labour, of

Education,

Department

DACST,

Education, DACST, Education, DACST, Education, DACST, Department

MAPPP Seta

MAPPP Seta

MAPPP Seta

of Department

Labour, Department

MAPPP Seta

of Labour,

Youth

Commission, Umsobomvu Youth Fund, DTI, the

DTI,

of Department

of

Labour, Department of of

Education,

Education,

DACST,

DACST,

MAPPP Seta Urban

MAPPP Seta

Renewal


Provincial

Provincial

Sphere

PICADI SPV

PICADI SPV

PICADI SPV

PICADI SPV

PICADI SPV

development council, Provincial

Provincial

Provincial

Provincial

Provincial

Spatial Development development

development

development

development

development

Framework,

council,

council,

council,

council,

council,

MEDS,

Spatial

Spatial Development Spatial Development Spatial

Spatial

Red Door,

Development

Framework,

Framework,

Development

Development

WCED Arts & Culture Framework,

MEDS,

MEDS,

Framework,

Framework,

Focus Schools,

MEDS,

Red Door,

Red Door,

MEDS,

MEDS,

DEDT SPVs,

Red Door,

WCED

Precinct

WCED

Development Plan,

Culture

Provincial

Arts

Arts

& Culture

Arts

Focus Culture

Focus Schools,

Youth Schools,

& WCED

& Red Door,

Focus WCED

& WCED

Arts

Culture

DEDT SPVs,

DEDT SPVs,

Schools,

Schools,

DEDT SPVs,

DEDT SPVs,

DEDT SPVs,

Precinct

Precinct

Non profit sector

Precinct

Development Plan,

Development Plan, Precinct

Development Plan, Provincial

Youth Provincial

Youth Commission,

Commission,

Arts

Schools,

Commission,

Provincial

Red Door,

Non profit sector

Focus Culture

Plan,

Non profit sector

Provincial

Non profit sector

Focus

Precinct

Youth Development

Commission,

&

Development Plan, Provincial

Youth

Youth Commission,

Commission,

Non profit sector

Non profit sector

Local Sphere

Capacity Building,

Capacity Building,

Capacity Building,

Capacity Building,

Capacity Building, Area Forums linked

ACT’s,

ACT’s,

ACT’s,

ACT’s,

ACT’s,

to ND Forums

Integrated

Integrated

Integrated

Integrated

Integrated

Capacity

Building,

Development Plan,

Development Plan, Development Plan,

Gender,

Youth,

SMME’s,

Elderly,

Urban

Renewal, Urban

Renewal, Urban

Development Plan, Development

Renewal, Urban

Renewal, Plan,


Gender, Youth

Gender,

Gender,

Gender,

Urban

Renewal, Health,

Development Youth Development Youth Development Youth Development Gender,

Environmental

Forums,

Forums,

Forums,

Forums,

Youth

SMME’s,

SMME’s,

SMME’s,

SMME’s,

Development

Elderly,

Elderly,

Elderly,

Elderly,

Forums,

Health,

Health,

Health,

Health,

SMME’s,

Sports,

Sports,

Sports,

Sports,

Elderly,

Environmental,

Environmental,

Environmental,

Environmental,

Health,

Non

profit

sector, Non

Ward Committees, Cultural (Appendix C)

profit

sector, Non

Ward Committees,

Forums Cultural

profit

Ward Committees,

Forums Cultural

(Appendix C)

sector, Non

(Appendix C)

profit

sector, Sports,

Ward Committees,

Forums Cultural (Appendix C)

Sports,

Environmental,

Forums Non profit sector, Ward Committees, Cultural

Forums

(Appendix C)

the DTI:

Department of Trade & Industry

DACST:

Department of Arts, Culture, Science & Technology

DEDTs SPVs: Department of Economic Development & Tourism’s Special Purpose Vehicles for the Creative Industries ACT’s:

Area Coordinating Teams

SMME’s:

Small Medium & Micro Enterprises

ND Forums:

National Development Forums

PICADI SPV: Integrated Creative Arts Development Initiative Special Purpose Vehicle


8 PICADI Evaluation Diagram 7: PICADI Implementation

The Ideal situation: ICADI Implementation Framework 1

2

4

3

6

5

International Environment Domestic Environment

Input

Output

Objective

Implementation Agency Management of the implementation process Organisational arrangements Financial arrangements (budget) Personnel arrangements Procedural arrangements Control Policy for implementation

Monitoring & evaluation

Prerequisites for implementation

Legal prescriptions

Planning by legal requirements

Throughput or operationalisation

Multi-disciplinary Project teams

Feedback Time frames

Domestic Environment International Environment


The PICADI plan acknowledges both local, national and international factors that might impact on its implementation as illustrated by the accompanying diagrams on the preceding and ensuing pages.


Diagram 8: The ICADI Ways of working  Conventional ways of working

Innovation & flexibility Teamwork & Reducing bureaucracy

 Hierarchical & bureaucratic  Slow

Upping the pace

 Insular & working in silos

Taking individual responsibility

 Focus on inputs

Measuring by outcome


Diagram 9: THE ICADI Challenges Communicating Selling –How we are going To benefit

Showing – We have some of that

The central/local balance

Keeping stakeholders involved

‘til people are tired of it!



The effective implementation of PICADI should be measured by specific indicators in the 21 Priority Areas of the Western Cape Province:

1 Vredenburg 2 Cederberg 3 Central Karoo 4 Delft 5 Bishop Lavis 6 Elsiesriver 7 Hanover Park 8 Gugulethu 9 Witzenberg 10 Khayelitsha 11 Philippi 12 Kleinvlei 13 Paarl 14 Manenberg 15 Mitchells Plain 16 Matzikama 17 Muizenberg 18 Theewaterskloof 19 Kannaland 20 Oudtshoorn 21 Nyanga


Key indicators Enhance global competitiveness

Targeted poverty reduction

1. Developed economy To

2. Economi 3. Economic 4. Social 5. Social es of the bridges package capital poor increase To increase To strengthen To facilitate To build the

the number of and broaden linkages economic

participation

opportunities

of the poor and

by

growing in

the economy. a. Sector support

universal

between the first access second basic

the economies.

economy.

a. Skills a. Procurement developm ent and training b. Destination b. Informal b. Use of state brand trade owned assets manageme support. (incl. land) to nt and enhance marketing greater economic inclusiveness c. Investment c. Low c. Transport and (inward and skilled job telecommunic outward) creation a-tions (e.g. infrastructure. EPWP) d. To d. SMME d. Enabling coordinate and business area cooperativ environment targeting e and business manageme support nt. e. Formal e. Informal e. Economic business business research and and and information consumer consumer security. security.

and

human

and

to social capital needs of the poor. social

services. a. Bulk and a. Early business Childhood infrastructur Developme e subsidies nt. b. Capital b. Community subsidies developme and grants nt for assets especially for the poor for vulnerable groups c. Social c. Adult basic services education infrastructur and training e d. Subsidised d. Tolerance, access to inclusion basic and services cohesion (indigent policies) e. Welfare grants.

e. Individual and community safety nets


 Construction sector support programme  Tourism sector support programme  Retail sector support  Transport sector

 Construction training  Language training  Life skills training  Life skills training for the aged  Service sector training  Transport training  Facilities management and maintenance trades  Urban food security (gardens and livestock)  ICT related training to support the wireless zone  Development of large scale learnership programme d in partnership with the private sector around the service and food and beverage industries.

 Construction procurement  Service delivery procurement  Facilities management procurement  Red door and other procurement related training.

 Bulk infrastructure subsidies  Transport related infrastructure and operating subsidies  Sport (2010) related subsidies targeting h  Allow entrepreneurs to maximise the use of Council infrastructure

 Provision for ECD sites  Accessing the EPWP ECD programme  Partnerships with NGOs/CBOs to provide ECD services  Intergovernmental relations with province re ECD  Accessing Dept. of Social Development indigent food subsidies for ECD sites

a. To promote a. To provide a. To maximise a. To access a. To facilitate destination informal trade the use of capital community brand support. state owned subsidies and development management assets (incl. grants aimed at especially for and marketing. land) to improving the vulnerable enhance asset base of groups greater the poor. (women, youth, economic migrants, HIV+, inclusiveness. disabled) under the community development


 Tourism related  Demarcate & marketing designate informal trading  Signage areas  Promotion of  Provide for surrounding paved public economic spaces, with nodes and ablution facilities facilities, that allow for trading  Provide for lighting to allow trading after hours  Ensure proper management and maintenance of all trading spaces  Clear policy on allocations and termination  Provide storage spaces close to public spaces that might be used for trading  Provide for the safety or shoppers and sellers









workers programme. Maximising the  Accessing  Establishment use of the national capital of community Athlone power subsidies for development station to housing worker offices support the  Ensure and local appointment of schemes allow community staff in the area for movement Developing the into ownership  Health airport over time education industria around  Partner with commercial pregnancy, HIV NGOs to area and TB develop Identification of  Development of innovative additional alternative special parcels of well housing programmes to located land schemes support for further orphans, youth development. and women. Providing land for planned infrastructure.

b. To accelerate b. To maximise low b. To accelerate b. To fund and b. To facilitate the Investment skilled job investment in subsidise social provision of (inward and creation (e.g. passenger and services adult basic outward) EPWP) freight infrastructure education and transport and provision and training telecommunic management. services. ations logistics infrastructure.  Facilitate private  Development of  Establish the  Construction  Identification of sector EPWP paving area as a and community investment in programme wireless zone management of centres to be for example  Development of  Development multi-purpose used for ABET airport industria community programmes EPWP fencing of efficient and and Klipfontein facilities and  Partnerships programme cheap public


corridor  To facilitate private sector investment in retail facilities in the N2 community  Provision of light industrial sites linked to an economic node area targeting strategy.

transport libraries/ with NGOs and  Development of system – e.g. wireless churches to EPWP greening smart car or hotspots provide ABET programme moped based  Construction training  Establishment of internal and  Partnerships job centres transport maintenance of with DoL and  Community system community SETAs to based waste  Investment in sports facilities provide ABET collection and rail commuter and training cleaning lines programmes  Provision of  Accessing MIG wide-scale grants for language skills EPWP road construction  Development of walking information officers for tourism sites  Train and establish community maintenance contracting teams  Sports facilities management EPWP  Social sector EPWP Targeted strategies for

engaging

women in EPWP c. To coordinate c. To provide c. Creating an c. To provide for c. To promote area targeting SMME and enabling subsidised tolerance, and cooperative business access to basic inclusion and management. business environment services in line cohesion. support. including with the reductions in national, costs and provincial and inefficiencies. Council indigent policies.  Development of  Provision of  Review existing  Facilitate  Partnerships economic SMME and regulations access to the with local nodes – cooperative that act as indigent service NGOs, CBOs, including support through barriers to related Churches to roll consolidating walk in centres, economic subsidies for out a nodes in voucher activity e.g. eligible programme


surrounding communities

programmes, leasing of household in around basic council land the N2. tolerance and infrastructure. process. inclusion  Maximise  Management  Provide easy  Development of design and and accessible efficiencies a programme maintenance of services to around water to facilitate the hives and other register all and energy to inclusion of facilities businesses enhance migrants and efficiencies and immigrants  Facilitate access  Reduce the reduce costs to business red-tape and funding through cost of partnerships business with the private zoning and sector, donors licencing and NGOs processes  Reduce the cost of services to businesses  Maximise design efficiencies around water and energy to enhance efficiencies and reduce costs

d. To facilitate d. To facilitate d. To undertake d. To facilitate d. To facilitate business and business and research and access to the individual and consumer consumer collate full array of community security. security. information on available safety nets and the economic welfare grants. disaster needs and mitigation opportunities strategies. in the City.  Ensure all areas  Ensure all areas  Information on  Facilitate  Partner with have proper have proper the homeless acquisition of various savings lighting, parking lighting, parking  Information on identify clubs and and storage and storage documents organisations the skills










facilities Ensure adequate security capacity exists Support the establishment of neighbourhood watch Ensure all trading facilities are located in areas with potential for good community surveillance Community policing forums and neighbourhood watch

  





facilities Ensure storage facilities are fire  proof. Ensure adequate security capacity exists Support the establishment of  neighbourhood watch Ensure all trading facilities are located in areas with potential for good community surveillance Community policing forums  and neighbourhood watch 

needs of  Provide industries in accurate and the area accessible Collect data on information on formal and current national informal welfare grants activities available pertaining to  Social EHD empowerment Information on of grant available recipients and resources for education on economic and alternatives human development (e.g. subsidies, incentives, programmes). Knowledge hub on factors impacting on EHD in SE EHD Directorate to analysis economic, social and consumer data as a basis for informing policy and practice.

 Ensure all areas are accessible for emergency vehicles  Train all community members in disaster management and mitigation  Provide safe and secure storage facilities (on rental basis) for traders  Maximise design efficiencies around energy to reduce hazards  Hygiene and environmental education  Drug and alcohol rehabilitation


Output indicators – specific PICADI projects linked to the broader

PICADI strategic projects PICADI for Western Cape Province

X

X X

Social housing as a choice Revitalisation of slum areas

X

X

X

Reconstruction of community centres

X

X

X

Construction of football stadium Cape Town

X

Technical facilities for housing construction Cape Town Technical facilities for housing construction Cape Town

X

Multifunctional sport hall: construction documentation, EIA

X

X X

X

Connection of streets across buffers streets and railways

X

linking different communities Introducing youth-at-risk programmes

X

X

Bicycle path

X

X

Adjustment of the local crossroads

X

Rebuilding of crossroads to adjoining neighbourhoods

X

X

Rebuilding of the footpaths through neighbourhoods

X

X

Reconstruction of crossroad-traffic lights

X

X

Reconstruction of street pavement

X

X

Conversion of empty offices in Cape Town for social housing

X

X


social services

Cape Town To expand and improve

administration in city of

infrastructure of city public strength To

technical Town To expand

economic base of Cape

To

expand

Goals

in Cape Town industry the expand To

Strategy

tourist

economic activities

Information “kiosks”

X

X

International festival of local movies, crafts, etc

X

X

X

Trips for active members of pensioner's club

X

Pensioners' clubs

X

Sport for youth

X

X

X

Migrant Centre projects

X

X

Aqua parks

X

X

Tourist exhibitions

X

Art and culture exhibitions

X

Urban agriculture promotion projects

X

LAED Training programmes exhibition

X

Finance incentives program for SMMEs

X

Revitalization of post industrial facilities

X

X

Greenfield project

X

X

Industrial development projects

X

X

Vocational training meets

industry demand for

skilled

workforce Introduction in Internet possibilities to Cape Town companies

X

X

X

X

Staff training projects

X

CID development project

X

Creative arts development projects

X

Implementation of multiyear financial planning project

X

‘One-stop shop’ projects

X

Establishment of creative hubs in communities

X



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i

Source: Arts & Economic Prosperity: The economic Impact of Non-profit Arts and Culture

Organizations and Their Audiences. Americans for the Arts. http://www.artsusa.org/pdf/information_services/research/services/economic_impact/aepiii/nation al_report.pdf. Accessed: 14 March 2008 at 23:13

ii

“Excerpts from power-point presentation by Delecia Forbes (Department of Economic

Development & Tourism) on CREATIVE INDUSTRIES IN THE WESTERN CAPE on 14.03.08” iii

PWC data (June 2006) cited in Op cit.


iv

Provincial Government of the Western Cape. Strategy. Draft White Paper. 15 November 2007.

iKapa Elihlumayo Growth and Development

v

Johnston, J. Presentation on the Western Cape Micro-economic Development Strategy. 18 August 2006.

Appendix A 1 What are creative industries? According to The Development Works( 2008), Exploring Creative Industries: Report to the Department of Economic Development & Tourism, 24 January 2008 p.17-18”, the term ‘creative industries’ entered mainstream politics as recently as a decade ago, when the UK’s Department of Culture, Media and Sport (DCMS) developed the concept through its Creative Industries Taskforce in 1997. The creative industry sector is extremely varied, lying “at the crossroads between the arts, business and technology.”v Technology is key here: its impact has been immensely influential on the creative industries. The continuing growth of the latest IT and digital technologies means that creative goods and services can be consumed, shared, and traded with much greater ease.


The DCMS Creative Industries Taskforce came up with the following definition for creative industries: “activities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through the generation and exploitation of intellectual property”v Their economic value then is grounded in their creative properties.

These

activities include a broad spectrum of areas that deal with “the production and distribution of creative content that includes advertising, architecture, art, crafts, design, fashion, film and video, interactive leisure software, music, performing arts, publishing, software and computer services, television and radio.”v The creative industries differ from non-creatives in important ways – one of the most striking being their focus in cities due particularly to the need for skills and market opportunities, and their reliance on IT infrastructure. Other characteristics include: “extensive networking, self-help and collaboration, “flat hierarchies” and partnerships, and the domination of small and micro-enterprise.”v The term ‘creative clusters’ is often associated with creative industries, referring to the way that the enormity of the creative sector is such that networks and clusters are formed for co-ordination purposes and to pool resources. Creative clusters are dependent on “..local innovation capacity, availability of venture capital, the role of institutions in mediating collaboration, an appropriate skills and knowledge base, and targeted public policies.”v

Although characterising the creative industries may be fairly simple, accurately defining them has been more of a challenge. The DCMS definition noted above is the most accepted at an international level and has been adopted by a number This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 65

of other countries around the world.

This is not to say however that it has

escaped wide debate. Stuart Cunningham, a key figure in cultural policy studies and creative industries, argues “There have been some downsides to this definition as well as upsides. I would like to refer to it as a dynamic, but potentially incoherent definition of the creative industries because of its breadth and because of its ambitiousness.”v Others go even further, arguing that defining creative industries “is a task fraught with methodological and semantic challenges.”v

Critics of the 13 sub-sector definition question the inclusion of some industries (for example, advertising) and the exclusion of others (for example, cultural tourism). Indeed, as more and more countries look to their creative industries as potential drivers of their economy, the ‘definition debate’ shows no signs of abating.

The key problem with this lack of clear definition is that measuring the impact of creative industries remains challenging. Despite this, the dominant argument is that the creative sector can be a significant driver of economic development in a variety of settings across the globe. “ UNESCO’s Culture, Trade and Globalisation website defines the creative industries as “those industries that combine the creation, production and commercialization of products which are intangible and cultural in nature. These contents are typically protected by copyright and they can take the form of goods or services.” The British government defines the creative industries as “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property.” This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 66

Using these definitions, creative industries generally include literature and publishing, music, audio-visual (television and films) and media, craft, design, visual and performing arts (dance, live music, theatre, opera, etc), fashion advertising and cultural tourism. Some countries include architecture, computer software, electronic games, the heritage sector (museums, historical sites, traditional ceremonies), and antiques. Some of the general characteristics of the creative industries (not necessarily all the sub-sectors) are that 1. they are knowledge-intensive 2. they are labour-intensive 3. creativity is the “raw material” 4. there is a large number of micro, small and medium enterprises as well as large ones 5. they have both a cultural and an economic dimension 6. they include not-for-profit as well as commercial activities and 7. they are premised on copyright

Copyright law grants creators of original artistic works (books, musical compositions, paintings, films, plays, etc) the exclusive right freely to exploit their work for commercial or non-commercial ends. This right is protected for a minimum of fifty years after the death of the creator. The main purpose of copyright protection is to encourage and reward creative work, ensuring that creators are remunerated for the products of their work, a key ingredient for the successful development of cultural industries.

Towards a more inclusive definition Our own Department of Arts and Culture and Create South Africa, an organization established to promote the development of skills within the creative industries, use the British definition as their starting point. This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 67

As a result, the DAC has concentrated on four sectors – film, music, publishing and craft – that they believed were most likely to conform to this definition and as these had the most potential to create employment and generate income, to be self-sustaining industries and to export goods and services. The effect of this, though, was to exclude other sectors of the creative industries – like the performing arts and visual arts – from the theoretical work, practical plans and funding strategies earmarked for the “big four”. The implication was that sectors that were dependent on government subsidy or grant funding or that had less likelihood of “graduating” from the non-profit-sector, were not as important within the creative industry strategy embarked upon by government. Furthermore, in the context of the country’s macro-economic framework of the time, the value or validity of cultural activity was increasingly being left to market forces to determine, and subsidies for the arts and culture sector – beyond the chosen four areas – declined. In the drive to create wealth and to establish creative industries from which individuals may generate sustainable income, insufficient attention is paid to the not-for-profit sector of which there is a substantial component in the arts and culture realm. The absence of discussion around this issue means that assumptions are made that become part of strategies that ignore particular areas of economic activity within the creative industries, since these are deemed to have little value in generating wealth in traditionally-understood terms. vi

Provincial Government of the Western Cape. iKapa Elihlumayo Growth and Development Strategy. Draft White Paper. 15 November 2007 vii

Sustainable

development

and

social

sustainability:

A

Canadian

VIew,

http://www.creativecity.ca/news/special-edition-4/summary.html accessed: 22 October 2007 viii

Op cit. Mok Kin Wai

ix

Van der Pol, H. 2007. Key role of cultural and creative industries in the economy. UNESCO. The Work Foundation. 2007. Staying ahead: the economic performance of the UK’s creative industries. x


xi

Economics Division Ministry of Trade and Industry. 2003. Economic Contributions of Singapore’s Creative Industries. In Economic Survey of Singapore First Quarter 2003.

Appendix B INTERNATIONAL LABOUR ORGANIZATION CODES FOR DEVELOPMENT OF SMME SERVICE INFRASTRUCTURE

11.

In order to enhance the growth, job-creation potential and competitiveness

of small and medium-sized enterprises, consideration should be given to the availability and accessibility of a range of direct and indirect support services for them and their workers, to include: (a)

business pre-start-up, start-up and development assistance;

(b)

business plan development and follow-up;

(c)

business incubators;

(d)

information services, including advice on government

(e)

consultancy and research services;

(f)

managerial and vocational skills enhancement;

(g)

promotion and development of enterprise-based training;

policies;


(h)

support for training in occupational safety and health;

(i)

assistance in upgrading the literacy, numeracy, computer competencies and basic education levels of managers and employees;

(j)

access

to

energy,

infrastructure

such

telecommunications as

water,

and

electricity,

physical premises,

transportation and roads, provided directly or through private sector intermediaries; (k)

assistance in understanding and applying labour legislation, including provisions on workers' rights, as well as in human resources development and the promotion of gender equality;

(l)

legal, accounting and financial services;

(m)

support for innovation and modernization;

(n)

advice regarding technology;

(o)

advice on the effective application of information and communication technologies to the business process;

(p)

access to capital markets, credit and loan guarantees;

(q)

advice in finance, credit and debt management;

(r)

export promotion and trade opportunities in national and international markets;

(s)

market research and marketing assistance;

(t)

assistance in product design, development and presentation;

(u)

quality

management,

including

quality

testing

and

measurement; (v)

packaging services;

(w)

environmental management services.


12.

As far as possible, the support services referred to in Paragraph 11 should

be designed and provided to ensure optimum relevance and efficiency through such means as: (a)

adapting the services and their delivery to the specific needs of small and medium-sized enterprises, taking into account prevailing economic, social and cultural conditions, as well as differences in terms of size, sector and stage of development;

(b)

ensuring active involvement of small and medium-sized enterprises and the most representative organizations of employers and workers in the determination of the services to be offered;

(c)

involving the public and private sector in the delivery of such services through, for example, organizations of employers and workers, semi-public organizations, private consultants, technology parks, business incubators and small and medium-sized enterprises themselves;

(d)

decentralizing the delivery of services, thereby bringing them as physically close to small and medium-sized enterprises as possible;

(e)

promoting easy access to an integrated range of effective services through "single window" arrangements or referral services;

(f)

aiming towards self-sustainability for service providers through a reasonable degree of cost recovery from small and medium-sized enterprises and other sources, in such a manner as to avoid distorting the markets for such services and to enhance the employment creation potential of small and medium-sized enterprises;


(g)

ensuring

professionalism

and

accountability

in

the

management of service delivery; (h)

establishing

mechanisms

for

continuous

monitoring,

evaluation and updating of services.

13.

Services should be designed to include productivity-enhancing and other

approaches which promote efficiency and help small and medium-sized enterprises to sustain competitiveness in domestic and international markets, while at the same time improving labour practices and working conditions. 14.

Members should facilitate access of small and medium-sized enterprises

to finance and credit under satisfactory conditions. In this connection: (1)

credit and other financial services should as far as possible be

provided

on

commercial

terms

to

ensure

their

sustainability, except in the case of particularly vulnerable groups of entrepreneurs; (2)

supplementary measures should be taken to simplify administrative procedures, reduce transaction costs and overcome problems related to inadequate collateral by, for example, the creation of non-governmental financial retail agencies and development finance institutions addressing poverty alleviation;

(3)

small and medium-sized enterprises may be encouraged to organize in mutual guarantee associations;

(4)

the creation of venture capital and other organizations, specializing

in

assistance

to

innovative

small

and

medium-sized enterprises, should be encouraged.

15.

Members should consider appropriate policies to improve all aspects of

employment

in

small

and

medium-sized

enterprises

by

ensuring

the

non-discriminatory application of protective labour and social legislation. This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 72

16.

Members should, in addition: (1)

facilitate,

where

appropriate,

the

development

of

organizations and institutions which can effectively support the growth and competitiveness of small and medium-sized enterprises. In this regard, consultation with the most representative organizations of employers and workers should be considered; (2)

consider adequate measures

to

promote

cooperative

linkages between small and medium-sized enterprises and larger enterprises. In this connection, measures should be taken to safeguard the legitimate interests of the small and medium-sized enterprises concerned and of their workers; (3)

consider measures to promote linkages between small and medium-sized enterprises to encourage the exchange of experience as well the sharing of resources and risks. In this connection, small and medium-sized enterprises might be encouraged to form structures such as consortia, networks and production and service cooperatives, taking into account the importance of the role of organizations of employers and workers;

(4)

consider specific measures and incentives for persons aspiring

to

become

entrepreneurs

among

selected

categories of the population, such as women, long-term unemployed, persons affected by structural adjustment or restrictive and discriminatory practices, disabled persons, demobilized military personnel, young persons including graduates, older workers, ethnic minorities and indigenous and tribal peoples. The detailed identification of these This researcher thanks Mark Botha, University of Cape Town PhD Student, for his invaluable assistance with the fieldwork for this text[Type text] Page 73

categories should be carried out taking into account national socio-economic priorities and circumstances; (5)

consider special measures to improve communication and relations between government agencies and small and medium-sized enterprises as well as the most representative organizations of such enterprises, in order to improve the effectiveness of government policies aimed at job creation;

(6)

encourage support for female entrepreneurship, recognizing the growing importance of women in the economy, through measures designed specifically for women who are or wish to become entrepreneurs.

V. ROLES OF ORGANIZATIONS OF EMPLOYERS AND WORKERS

17.

Organizations of employers or workers should consider contributing to the

development of small and medium-sized enterprises in the following ways:

(a)

articulating to governments the concerns of small and medium-sized enterprises or their workers, as appropriate;

(b)

providing direct support services in such areas as training, consultancy, easier access to credit, marketing, advice on industrial relations and promoting linkages with larger enterprises;

(c)

cooperating with national, regional and local institutions as well as with intergovernmental regional organizations which provide support to small and medium-sized enterprises in such areas as training, consultancy, business start-up and quality control;

(d)

participating in councils, task forces and other bodies at national, regional and local levels established to deal with


important economic and social issues, including policies and programmes, affecting small and medium-sized enterprises; (e)

promoting

and

economically

taking

part

beneficial

in

and

the

development

socially

of

progressive

restructuring (by such means as retraining and promotion of self-employment) with appropriate social safety nets; (f)

participating in the promotion of exchange of experience and establishment of linkages between small and medium-sized enterprises;

(g)

participating in the monitoring and analysis of social and labour-market issues affecting small and medium-sized enterprises,

concerning

such

matters

as

terms

of

employment, working conditions, social protection and vocational training, and promoting corrective action as appropriate; (h)

participating in activities to raise quality and productivity, as well as to promote ethical standards, gender equality and non-discrimination;

(i)

preparing studies on small and medium-sized enterprises, collecting statistical and other types of information relevant to the sector, including statistics disaggregated by gender and age, and sharing this information, as well as lessons of best

practice,

with

other

national

and

international

organizations of employers and workers; (j)

providing services and advice on workers' rights, labour legislation and social protection for workers in small and medium-sized enterprises.


18.

Small and medium-sized enterprises and their workers should be

encouraged to be adequately represented, in full respect for freedom of association. In this connection, organizations of employers and workers should consider widening their membership base to include small and medium-sized enterprises. VI. INTERNATIONAL COOPERATION

19.

Appropriate international cooperation should be encouraged in the

following areas:

(a)

establishment of common approaches to the collection of comparable data, to support policy-making;

(b)

exchange of information, disaggregated by gender, age and other relevant variables, on best practices in terms of policies and programmes to create jobs and to raise the quality

of

employment

in

small

and

medium-sized

enterprises; (c)

creation of linkages between national and international bodies and institutions that are involved in the development of

small

and

medium-sized

enterprises,

including

organizations of employers and workers, in order to facilitate: (i)

exchange of staff, experiences and ideas;

(ii)

exchange

of

training

materials,

training

methodologies and reference materials; (iii)

compilation of research findings and other

quantitative and qualitative data, disaggregated by gender and age, on small and medium-sized enterprises and their development;


(iv)

establishment of international partnerships and

alliances of small and medium-sized enterprises, subcontracting arrangements and other commercial linkages; (v)

development of new mechanisms, utilizing

modern information technology, for the exchange of information organizations

among and

governments, workers'

employers'

organizations

on

experience gained with regard to the promotion of small and medium-sized enterprises; (d)

international meetings and discussion groups on approaches to job creation through the development of small and medium-sized enterprises, including support for female entrepreneurship. Similar approaches for job creation and entrepreneurship will be helpful for disadvantaged and marginalized groups;

(e)

systematic research in a variety of contexts and countries into

key

success

factors

for

promoting

small

and

medium-sized enterprises which are both efficient and capable of creating jobs providing good working conditions and adequate social protection; (f) promotion of access by small and medium-sized enterprises and their workers to national and international databases on such subjects as employment opportunities, market information, laws and regulations, technology and product standards. 20.

Members should promote the contents of this Recommendation with other international bodies. Members should also be open to cooperation with those bodies, where appropriate, when evaluating and implementing the provisions of this Recommendation, and take into consideration the prominent role played by the ILO in the promotion of job creation in small and medium-sized enterprises.


Appendix C Cultural Forum List (Department of Cultural Affairs & Sport)   

Knysna Cultural Forum George Cultural Forum Plettenberg Cultural Forum

   

Overstrand Cultural Forum Breede Vallei Cultural Forum Witzenberg Cultural Forum Breede River

   

Stellenbosch Cultural Forum Vredenberg Cultural Forum Swartland (Malmesbury) Cultural Forum Berg River Cultural Forum


 

Cape Agulhas (Bredasdorp) Cultural Forum Theewaterskloof (Caledon) Cultural Forum

 

Swellendam Cultural Forum (Interim Committee) Paarl (Planning Meeting)



DMA Cultural Forum

  

Oudtshoorn Cultural Forum Prince Albert Cultural Forum Riversdale (Interim)

 

Beaufort West Cultural Forum Laingsberg Cultural Forum


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