Thematic Statement: 'Arts & Craft…a Tool for Job Creation'
Programme Director, Ms Nothando Zungu
MEC for Arts, Culture, Sports & Creation, Ms Ntombikayise Sibhidla‐Saphetha,
Speaker of eThekwini Municipality, Cllr Loggie Naidoo,
Chief Executive Officer of Proudly South Africa, Advocate Leslie Sedibe,
Chief Executive Officer of Ithala Development Finance Corporation, Ms Yvonne Zwane,
Distinguished guest,
Ladies and gentlemen,
All protocols observed.
Firstly, I would like to express our unwavering gratitude and appreciation for sacrificing your valuable time to come and be part of this inaugural KwaZulu‐Natal Arts & Craft Conference which we hope will become an annual event where all involved in the creative and heritage industry, converge to share ideas and strategies on how to make this sector benefit a business and employment of choice. As we have tourism indaba that focuses on all aspects of the travel and hospitality business, arts and craft deserves a similar status to ensure it becomes one of the key components of our economy.
In view of the growing appreciation of the role played by this sector in the global economy, it could no longer be treated as a step child of other sectors such as tourism and has to be afforded its unique position that would ensure its competitiveness.
The pride and profile of a nation is indeed reflected in its cultural heritage that is expressed in various art and behavioural forms. Arts and craft is indeed the mirror image of the citizens’ way of life and norms. South Africa as a rainbow nation is endowed with a cornucopia of cultural artefacts that owe their origins to our own history which is in the main characterised by African, European and Oriental heritage that makes us a unique people.
Because of their diverse cultures, South Africans are renowned for their creativity and crafty talents which are demonstrated in a wide range of artistic and craft products that are a delight and fascination to art enthusiasts, collectors and tourists. Their inventiveness and repertoire is more natural than a learnt skill as it had been demonstrated in the ancient San people’s artistic paintings that have stood some of the most harshest climatic conditions to remain the reference point for our origin and scientific capacity of the indigenous communities.
The San paintings further depict the life style of this country’s first inhabitants as avid hunters who were very much close to nature that defined their cultural expression.
Many social scientists argue that visual artefacts in particular are the ideal indicators of not only the people’s creative thinking and desire to generate images about human experiences, but it traces the evolutionary development of ancient to modern technology invented to meet the ever changing needs of human beings.
The production of medieval and modern implements used for domestic and industrial functions though they could be viewed in scientific and engineering terms, but they often tell the story about the culture of the people from which they have emerged. It is through arts and craft that people reflect on their state of emotions such as happiness, nostalgia and frustration. The sentiments of self identity and nationhood are often entangled in arts and craft that in some instances could trigger conflict if certain sections of society feel that specific pieces of art are not accorded the kind of respect they deserve.
The arts and craft sector is as old as the cultures of the people from which it originates hence it’s often referred to as the cultural industry. Today, this sector has become one the serious contributors to the global economy hence arts and craft can no longer be treated just like a hobby where artists and crafters are indulging in their creativity to past time and satisfy their desires to express their feelings about life as they see it around them.
This has become big business that the nations of the world have adjusted to suit the general commercial pursuits that contribute to their GDP whilst impacting on the creation of business and employment opportunities along the value chain.
United Nation’s World Report claims that between 2000 and 2005, the cultural or creative industry had an annual growth increase of 8.7% to make it a $424.4 billion compared to $227.5 billion the years before the above mentioned period. Arts and craft as one of the significant sub-sectors within the cultural industry are trading at around $35 billion and according to the Global Industry Analyst Incorporated this figure will shoot to $40 billion in 2015. However, the sad reality is that the biggest contributors to the creative industry are first world nations that still dominate the industry.
Despite its endowment with raw materials, diverse cultural heritage and creative talent, Africa’s share in the global market’s monetary value is a mere 1% and this is attributed to weaknesses in the continent’s policies directed at ensuring that the arts and craft sector is given same attention like other economic sectors.
This, therefore, calls for serious investment in this industry as we want to ensure that those involved in its value chain do benefit equitably from its spoils as it happens in other countries in America, Europe, India and Asia. Despite the depressing trends in the developing world, some African states have started mobilising this sector to create more business and job opportunities.
In Morocco craft industry contributes 15% of that country’s GDP while in South Africa we are languishing at 0,14% that translate to only R32 billion and is a source of income for 273 495 people working employed in 31 802 SMMEs operating in the value chain.
The commercial consciousness in the arts and craft sector emerged as back as the 1800s and this was more evident in Britain where activism in the field of arts and craft was more pronounced when members of the creative industry started to call for their creativity to be transformed into an instrument to earn a living. Using their craftsmanship to record their displeasure at the manner in which their work was being treated, visual artists and crafters advocated socio‐economic reforms which resulted in that country’s development of Arts and Craft philosophy that become the bedrock for government policy.
As experts of non‐verbal communication, craftsmen expressed their sentiments through the application of simple, but emotive medieval, romantic and folk decorations and their silent expression was then vocalised by some of the well known arts and craft activists of the time that included John Ruskin (1819 ‐ 1900).
This was the time in which artists and crafters were not only raising concerns about poor social conditions that prevailed at the time through their artistic creations and designs of their artefacts, but were also mobilising themselves into formal structures that would serve their interest amid growing commercialisation of their products which apparently wasn’t necessarily benefiting them, but collectors and others that were gradually turning arts and craft into a profit making venture.
However, the market implications has dictated that while we all acknowledge the importance of maintaining individual creativity in the arts, certain qualities that define what we call today quality cultural or creative industries have to be adhered to. Arts and craft have entered the commercial terrain where their space in the society is defined by its marketability to consumers that value artistic and craft materials.
It is because of this reason that as government we have acknowledged that while appreciating arts and craft as visible and tangible indicators of our cultural heritage, we have also noticed the role this sector can play in the process of accelerating socio‐economic transformation in our country since it has the ability to create employment and wealth, while boosting investment and tourism business.
But one of the challenges that have been associated with this sector has been the need to formalise it to ensure that standards as expected in the market are set without infringing on the nature of the arts as a creative activity. The formalisation is not only limited in ensuring that the products do comply with norms and prescripts as expected in the local and global market, but this would also to ensure that craftsmen and all those involved in the value chain are protected from potential exploitation and do get equitable share from the profits made out of this sector.
The collaboration between the province and national departments, especially Department of Trade and Industry in the process of transforming the industry to ensure its increased contribution to the country’s economy has led to certain strategic and policy initiatives being put in place.
Currently, the New Growth Path and Industrial Policy Plan Two (IPAP2) emphasise the need to generate five million jobs and the activation of all sectors that have potential to contribute to growth. As a province we are, therefore, expected to take cue from national government strategic and policy positions when designing and defining our own specific programmes directed at ensuring that this sector becomes an effective conduit towards accelerated growth essential in unleashing both business and job opportunities – capitalising on the increasing demand for craft materials in the global market.
Meanwhile, KwaZulu-Natal, using its rich cultural heritage and abundance of raw materials, is working towards making arts and craft as one of the major contributors to the province’s economy.
The Department of Economic Development and Tourism as a custodian of the province’s economy initiated the process of developing this sector. Working within the scope of the DTI's Customised Sector Programme for Creative Industries, the department engaged various stakeholders including industry players and other state organisations to solicit their inputs towards the development of the KwaZulu‐Natal Arts & Craft Strategy that would serve as an effective roadmap towards growing this sector.
This would help in streamlining the programmes that have potential to make the province’s arts and craft business more competitive and sustainable in its contribution to the overall provincial economy. However, changes in government strategic approach to the nation’s economy resulted in the strategy becoming liable to change and review.
Meanwhile the draft that was completed in 2009 is being review to ensure proper alignment with national policy and strategic frameworks and the recent promulgation of the National Development Plan and the advent of the Provincial Growth & Development Plan had called for further review of the provincial arts and craft strategy. We therefore believe that ideals and contributions that would emerge out of this gathering would further find their ways to the content of the strategy hence your inputs during this conference will be invaluable.
One of the key priorities expressed by DTI that should be considered to ensure that arts and craft is embraced as a viable economic option, was the instruction for the establishment of Integrated Craft Hubs in all provinces. In 2007, we initiated the process of developing a comprehensive business plan that would lead to the development of the Provincial Integrated Craft Hub – with identical satellite centres being established in all districts of the province, including Greater Durban Metro which because of its status as the province’s nerve centre was declared as an ideal location for the central arts and craft hub.
KwaZulu‐Natal has got an ambition of becoming the country’s and region’s economic powerhouse and arts and craft which has a symbiotic relation to one of our fast growing sectors, tourism features prominently amongst our priorities.
We want to ensure proper institutionalisation of this sector by emulating models that are today regarded as reference points with regard to economic development and the Indian approach which is based on craft emporiums is appealing to us.
Our historical link and the current partnerships through BRICS make the Indian approach the logical model for us to follow, but we also appreciate the broader global experience that has made some other nations such as Italy the iconic benchmark for the cultural industry that features diverse sub-sectors such as the majestic paintings and sculptures.
The draft KwaZulu‐Natal Arts & Craft Strategy is pillared on seven programmes that have to be implemented to ensure that arts and craft sector lives up to its billing as one of the future growth areas. These programmes include:
- Establishment of the Provincial Integrated Craft Hub as prescribed by the national government to ensure central coordination of the industry for future development, that would hinge on the provision of amongst other things, access to funding and market, skills training and transfer, research and development to ensure quality product designs for the highly competitive market.
- The positioning of the sector within the cluster system, through the establishment of the KwaZulu‐Natal Craft Cluster which will be complementary to the functions of the hub, but ensure that sub‐sectors within the industry are proper coordinated to be able to provide holistic support in terms of market access, enterprise development and facilitation of communication amongst all role players in this field.
- Supply of Raw Materials as the life blood of any commodity oriented industry to be competitive and sustainable. This programme will ensure that crafters do access materials at competitive rates through the promotion of bulk buying whilst advising on the best practices to comply with environmental protection provisions to maintain sustainable and eco‐friendly production of artefacts.
- Establishment of Raw Materials Supply Sector is related to the above programme though this stresses on the integrated linkages in the supply of raw materials and the quality control of finished products.
- Access to Market that features prominently in the strategic framework and thus it seems to feature in all the programmes of our draft strategy. For real growth, arts and craft has to be exposed to both domestic and world market which requires professional production, packaging, distribution and exhibition of arts and craft to ensure its competitiveness and profitability.
- Training and Development that is responsive to the growing market demand for quality artefacts, to ensure that integration of product design with commercial and marketing principles. Crafters would be encouraged to gain basic and advances skills in all facets of the industry to ensure they optimally benefit from the sector. Liaison with various institutions that provide different services, such as MPPP‐SETA, SABS, CSIR and National Productivity Institute is essential in making the sector viable and competitive will be a continuous process. Within this programme the province promotes the concept of One Village One Product which is critical in the identification and maximum utilisation of the local raw materials for production and massive production of finished products for steady and sustainable supply to the market.
- KwaZulu‐Natal Awards of Excellence for Handicrafts that will serve as recognition of contributions made by crafters to the industry whilst serving as a motivation for the production of quality artefacts that are able to capture the international market to be able to promote growth in the sector.
These are some of the core elements of the province’s strategy which is currently undergoing the review process. We are determined to ensure that in the next financial year, this framework is implemented with the KwaZulu‐Natal Integrated Craft Hub as an institutional facility, playing a pivotal role in the development of the arts and craft industry in the province.
We are also confident that once all the basic processes have been undertaken, we will appoint and announce capable individuals that would be serving in the hub’s board. This is critical to ensure that the basic principles of governance are observed to ensure that the interest of crafters and all those partaking in this sector is taken care of.
There are great opportunities in this sector and by putting the arts and craft industry in the world map to ensure its proper contribution to the empowerment of our people, we will be also honouring many of our legends and icons that have made an immense contribution to this sector. Most of them weren’t even driven by commercial benefit that most of their counterparts today are exposed to.
Here we are talking about respected artisans like Bonie Ntshalintshali, whose ceramic products were the marvel of human creativity. However, we are delighted to announce that late today we will be conferring awards to some of our finest crafters whose creations are today adorning the global stage – making KwaZulu‐Natal home of some of the world’s respected arts and craft centres.
As we recognise these artistic geniuses, I want to stress that as part of our strategy we want to address the thorny issue – the role of the middleperson in the value chain. We are aware that the middleperson is an entrepreneur that creates an interface between the producer or crafter and the market, but to ensure equitable benefits and harmonious relations in the sector through formalisation of transactional relations – with set of rules illustrating the percentage of each participant’s share in the sales.
We are grateful that there is consensus between us the DTI with regard to the promotion of faire business practices in the industry to ensure that crafters enjoy the fruit of their God given talents.
Moreover, as part of taking the industry to the next level we have identified numerous obstacles besides unscrupulous deals that relates to some middlepersons. Through the establishment of the central hub and its satellites we would endeavour to promote active participation by both statutory and private financial institutions in the provision of credit to crafters that have prospect of success in this kind of business. However, this would be coupled with constant skills training that would influence product quality to guarantee competitiveness and good returns for crafters.
We believe that effective and integrated marketing of these wares is another area that had adverse implication for our arts and craft – especially in the world market and we intend to increase the participation of our crafters in high profile exhibitions which would require improved quality materials to represent the province in the global market.
Meanwhile we have two biggest markets for the South African artefacts and that include Europe and the USA – who have dominated the arts and craft industry for many years. But there is a growing demand for African arts in Asia, especially in China which we have to explore to be able to broaden the economic cake for our people.
Just recently, the due to its bulging economic strength, China has emerged as an alternative global hub for arts and craft that attracts big spending collectors from all over the world. We have to tap into this alternative market – and with dwindling disposable income in the American and European countries because of the economic slumps, this is the opportune time to cast our net wide for new markets for our arts and craft.
Ladies and gentlemen, in arts and craft we have gold in our hands and it is incumbent upon all of us as a collective to work towards credible strategies and policy frameworks that would propel this sector to the greatest heights where it belongs. We, therefore, implore each and everyone in this gathering to participate actively in the deliberations which we are confident the outcome thereof will add value to the content of the KwaZulu‐Natal Arts & Craft Strategy that we are currently working on. As government we can only succeed if all affected parties play their part.
The good thing about arts and craft is that it is a unique sector that knows no social boundaries and hence we have converged here today to seek collective and creative wisdom from all sectors of our society to ensure that we produce the best strategic framework that would help extricate our people from the jaws of poverty and allow them to have an influence on the sale of their artefacts.
The intervention that we have made to locate arts and craft amongst future economic winning sectors is a demonstration that we are committed to the empowerment of our people and we believe that regulation and other pertinent reforms would help bring about harmony in our economy.
But more importantly, if we develop a strategy that would secure a healthy position of arts and craft in the province’s economy, this will further ensure growth in various levels of our economy, especially at SMMEs and cooperative levels which will ensure absorption of more people into the economy which is crucial for government tax base. As the theme for this inaugural event suggests, `arts and crafts could become real economic instrument to create jobs to reduce poverty levels in our communities’, but if we work together to make it happen.
This conference is a good start.
I thank you.
