Kedibone
Seutloadi
An
evaluation of the transformation process in the Performing Arts Councils
in South Africa
The Performing Arts Councils (PACs) have been the
primary recipients of national public funding for the performing arts,
accounting for nearly half of the arts and culture budget of the Department
of Arts, Culture, Science and Technology (DACST). They had to be restructured
in order to free public resources for allocation to other disciplines
and areas in need of redress. The four PACs addressed in this study
are The Playhouse Company (Durban), Artscape (Cape Town), PACOFS (Bloemfontein),
and the Spoornet State Theatre (Pretoria). The purpose of the study
was to determine whether or not the PACs had achieved the transformation
goals as defined by DACST. The research was approached from a qualitative
perspective to ensure that as much nuanced information as possible
was collected within a limited timeframe and financial constraints.
Where necessary, as in analysis of staff and expenditure, quantitative
analyses were undertaken.
The study found that the process of converting PACs
to playhouses had been inconsistently implemented, although some of
the PACs had come a long way in transforming themselves. Funding was
obtained from government subsidies, NAC funding for specific projects,
sponsorships, and other minor sources of income such as box office
sales. Traditional forms of the performing arts, specifically opera
and ballet, still accounted for a large portion of the total expenditure.
PACs have had considerable difficulty in obtaining provincial and
local government support, or adequate business sector support to make
them viable as stand-alone entities. None of the PACs has been able
to secure sustainable funding on a reliable basis to meet their requirements.
DACST regards the implementation of a Community Arts
Development (CAD) component and the establishment of the NAC as essential
for an equitable arts dispensation in the country. CAD is meant to
provide education and empowerment of people from previously disadvantaged
communities, access to PAC venues and NAC funding, and awareness and
outreach programmes. The CAD component varies substantially from PAC
to PAC.
The White Paper on Arts, Culture and Heritage recognises
that the future of arts and cultural expression lies in the development
of new audiences and markets. Audience development and facilitating
access to venues has been left to the PACs, with little effect in
some cases.
The transformation of the staff profile of PACs to
reflect the demographics of their provinces has been achieved.
As the results of the study show each PAC took it
upon itself to transform itself in its own way. As a result, transformation
by the various PACs was found not always to be in line with the imperatives
contained in the White Paper on Arts, Culture and Heritage (DACST,
1996).
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