Arts and Culture

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The Department of Arts and Culture aims to develop The Department is responsible for 27 public enti- and preserve South African culture, to ensure social ties, including museums, art galleries, the National cohesion and nation-building. It is the custodian of Archives and six playhouses. South Africa’s diverse cultural, artistic and linguistic In 2004/05, about R1,8 million was invested in heritage. regional community arts centre projects. The Pro- motion of Arts and Culture in South Africa Sub- Funding programme funded six theatres, three orchestras and a range of other artistic endeavours in 2003/04. The Department’s budget has grown at an annu- The sum of R93,2 million was allocated to perform- al average rate of 32,5% over the past three ing arts institutions. The Promotion of Arts and Culture years. Subprogramme was allocated R36,2 million, and the Transfers to heritage, arts and culture institutions National Arts Council of South Africa (NAC) R44,6 mil- are projected to make up an average of 82,9% of lion. The Arts and Culture in Society Programme re- the budget over the medium term. ceived 19,11% of the Department's budget.

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National symbols Mqhayi. It has been translated into most of South Africa’s official languages. National Anthem The National Anthem of South Africa is a combined National Flag version of Nkosi Sikelel’ iAfrika and The Call of The National Flag of the Republic of South Africa South Africa (Die Stem van Suid-Afrika). The Call of was brought into use on Freedom Day, 27 April South Africa was written by C.J. Langenhoven in 1994. The design and colours are a synopsis of the May 1918. The music was composed by the Rev. principal elements of the country’s flag history. M.L. de Villiers in 1921. Nkosi Sikelel’ iAfrika was The central design of the Flag, beginning at the composed in 1897 by Enoch Sontonga, a Methodist flag-pole in a ‘V’ form and flowing into a single hor- mission school teacher. izontal band to the outer edge of the fly, can be The words of the first stanza were originally writ- interpreted as the convergence of diverse elements ten in isiXhosa as a hymn. Seven additional stanzas within South African society, taking the road ahead in isiXhosa were later added by the poet Samuel in unity. The Flag was designed by the State Herald.

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When the Flag is displayed vertically against a National Orders wall, the red band should be to the left of the view- National Orders are the highest awards that the er, with the hoist or the cord seam at the top. When country can bestow on individual South Africans and it is displayed horizontally, the hoist should be to the eminent foreign leaders and personalities. left of the viewer and the red band at the top. When The Order of Mapungubwe is awarded to South the Flag is displayed next to or behind the speaker African citizens for excellence and exceptional at a meeting, it must be placed to the speaker’s achievement. right. When it is placed elsewhere in the meeting The Order of the Baobab is awarded to South place, it should be to the right of the audience. African citizens for distinguished service in the fields of business and the economy; science, medicine, National Coat of Arms technological innovation; and community service. South Africa’s Coat of Arms was launched on The Order of the Companions of O.R. Tambo is Freedom Day, 27 April 2000. awarded to Heads of State and other dignitaries for A central image of the Coat of Arms is the well- promoting peace, co-operation and friendship known secretary bird with its uplifted wings. Above towards South Africa. the bird is the rising sun, a force that gives life while The Order of Luthuli is awarded to South Africans representing the flight of darkness and the triumph who have made a meaningful contribution to the of discovery, knowledge and understanding of things struggle for democracy, human rights, nation- that have been hidden, and illuminating the new life building, justice and peace, and conflict resolution. that is coming into being. Below the bird is the pro- The Order of Ikhamanga is awarded to South tea, an indigenous flower of South Africa, which rep- African citizens who have excelled in the fields of resents beauty, the aesthetic harmony of all its cul- arts, culture, literature, music, journalism and sport. tures, and South Africa flowering as a nation. The The Order of the Mendi Decoration for Bravery is ears of wheat are emblems of the fertility of the land, awarded to South African citizens who have per- while the tusks of the African elephant, reproduced formed extraordinary acts of bravery. in pairs to represent men and women, symbolise wisdom, steadfastness and strength. National Symbols At the centre stands a shield, which signifies the South Africa’s National Symbols are: protection of South Africans from one generation to • National Animal: Springbok the next. Above it, repose a spear and a knobkierie. • National Bird: Blue Crane Together, they assert the defence of peace rather • National Fish: Galjoen than a posture of war. This shield of peace, which • National Flower: King Protea also brings to mind an African drum, conveys the • National Tree: Real Yellowwood. message of a people imbued with a love of culture. Its upper part is a shield being imaginatively repre- Arts and culture sented by the protea. Contained within the shield are some of the ear- organisations liest representations of humanity in the world. Those depicted were the very first inhabitants of the land, National Heritage Council namely the Khoisan people. These figures are (NHC) derived from images on the Linton Stone, a world- famous example of South African rock art. The The NHC, a statutory body that aims to bring equity motto of the Coat of Arms, !ke e:/xarra//ke, written to heritage promotion and conservation, was in the Khoisan language of the /Xam people, means launched in February 2004. ‘diverse people unite’ or ‘people who are different The 23-member Council was appointed by the joining together’. Minister of Arts and Culture in terms of the NHC Act,

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National Fish: Galjoen

National Bird: Blue Crane National Animal: Springbok

National Tree: real Yellowwood National Flower: King Protea

The Order of the Baobab The Order of Mapungubwe The Order of the Companions of O.R. Tambo

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1999 (Act 25 of 1999). The Council, which receives The Council has jurisdiction over all names of a government grant for its activities, is responsible geographical features and entities falling within the for museums, libraries, archives and sites with reli- territories over which the South African Government gious, political, cultural, scientific, archaeological or has sovereignty or jurisdiction acquired by treaty. environmental significance. It is also the custodian The following principles are adhered to: of living heritage such as the traditions of song, • each individual feature or entity should have only dance, story-telling and oral history. one official name The Council provides funding for ongoing opera- • the following types of geographical names tional and project requirements by transfer pay- should generally be avoided: ments to institutions under its aegis. Further funding - approved names of places elsewhere in South may take place through matched subsidy or core Africa funding, and applications for funds are assessed by - names of places in other countries, and subcommittees comprising Council members. names of countries The Council also advises on policies for research - names that are blasphemous, indecent, offen- and the management of collections, curating, sive, vulgar, unaesthetic or embarrassing exhibits and education. - names that are discriminatory or derogatory - names that may be regarded as an advertise- South African Heritage ment for a particular product, service or firm Resources Agency (SAHRA) - names of living persons. The National Heritage Resources Act, 1999 (Act 25 The SAGNC has been assigned, among its duties, to of 1999), established the SAHRA to manage the facilitate the establishment of Provincial Geograph- heritage resources of the country in co-operation ical Names Committees. with similar provincial agencies. Publications of the Council are available on the The SAHRA has established the National Heritage departmental website under Heritage Chief Resources Fund to provide financial assistance, in Directorate. Applications for approval of a changed the form of a grant or a loan, to an approved body or new name can also be processed online by visit- or individual, for any project which contributes to the ing www.dac.gov.za. conservation and protection of South Africa’s national heritage resources. National Arts Council of Conservation categories include: South Africa • national heritage sites, registers, areas and The NAC took over the structures and responsibili- objects ties of the Foundation of the Creative Arts on 29 • protected areas October 1997. • structures over 60 years old The 22-member Council aims, among other • burial grounds and graves things, to: • fossils (palaeontology) and archaeology • support arts practice by creating and providing • rock art opportunities to achieve excellence in the arts, • historical shipwrecks. within a climate of freedom • achieve equity by redressing imbalances in the South African Geographical allocation of resources Names Council (SAGNC) • promote and develop appreciation, understand- The SAGNC is an advisory body appointed by the ing and enjoyment of the arts through strategies Minister of Arts and Culture in terms of the SAGNC that include education, information and market- Act, 1998 (Act 118 of 1998). The Council advises ing the Minister on the transformation and standardisa- • enhance support and recognition for the arts by tion of official geographical names in South Africa. promoting and facilitating national and interna-

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tional liaison between individuals and institutions Playhouses • establish and recommend policy in the develop- The Department of Arts and Culture distributes an ment, practice and funding of the arts. annual grant to the six playhouses in the country, to The NAC supports several genres, such as music assist in creating a sustainable performing arts and opera, literature, the visual arts, craft, theatre industry based on access, excellence, diversity and and musical theatre, dance and choreography, and redress. They encourage the development of the full multidisciplinary arts. range of performing arts. It supports and funds a range of individuals and In 2003, three of the playhouses were declared groups. cultural institutions in terms of Section 3 of the Cultural Institution Act, 1989 (Act 66 of 1989). The Mmino other three are in the process of being declared. Mmino, a South Africa-Norwegian Education and The Playhouses include the: Music Programme, hosted by the NAC in close co- • State Theatre (Pretoria) operation with the Norwegian Concert Institute, is • Playhouse Company (Durban) the only funding programme in South Africa that • ArtsCape (Cape Town) funds music projects exclusively. • Market Theatre (Johannesburg) Since the inception of the Mmino Programme in • Windybrow Theatre (Johannesburg) August 2000, 143 projects have been funded. • Performing Arts Council of the Free State Funds are allocated twice a year. (Bloemfontein). Mmino aims to support projects with national impact in the areas of music education, documen- Business Arts South Africa tation, research and exchange, choral music and (BASA) festivals. The goal of Mmino is to strengthen South BASA was launched in 1997 as a joint initiative African musical cultures. between the Government, through the Department of Arts and Culture, and the business sector. It pro- Living Treasures motes and encourages sustainable partnerships The Living Treasures Project aims to create a living between the business and the arts sectors, to their treasure of artists who are still alive and who have mutual benefit and that of the community at large. contributed to a democratic South Africa. With funding from government, BASA has intro- duced the supporting grant scheme, whereby additional funds are made available to sponsor arts organisations or events. BASA is a member of the International Network of On 27 April 2004, South Africa celebrated the Business Arts Associations, linking with similar First Decade of Freedom. organisations internationally. Government adopted a multisectoral approach to Business Day continues to partner BASA in its this milestone to ensure that all South Africans and the annual awards, which acknowledge the importance of international community participated in the celebrations. private sponsorships in the development of the arts. The celebrations were aimed at uniting the country, Working with the Performing Arts Network of marking its achievements as a nation, and consolidat- South Africa, BASA co-hosted the first arts marketing its democracy. The event was celebrated through military salutes; a massive music concert; and a gala ing conference during 2003. dinner, featuring the country’s top musicians from all The conference culminated in the launch of the musical genres, sharing the stage with fellow interna- Arts and Culture Marketing Association of South tional singers. A special 10-year song, composed by Africa, a national forum for the arts sector focusing the creative collective, was also performed. The event was televised on 100 big screens across on the development of skills, and the identification of the country and on national television. key trends locally and abroad.

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Arts and Culture Trust (ACT) • Chief Albert Luthuli's house in KwaDukuza, The ACT was launched in October 1994 to finance KwaZulu-Natal, has been restored by the and manage funding for the arts in South Africa. The Department of Arts and Culture as a museum Trust, with former President Nelson Mandela as its with a visitors' interpretative centre. The project chief patron, has Nedbank, Sun International, the also involved the unveiling of Chief Luthuli’s Ministry of Arts and Culture, Vodacom, and the sculpture at the KwaDukuza Municipal Grounds. Dutch Government as its major funders. The Trust On 21 March 2004, the first of the Annual Chief also seeks to build a better arts and culture dispen- Albert Luthuli lectures was held at the University sation through proactive initiatives such as: of KwaZulu-Natal. A posthumous doctoral • fora, conferences and campaigns around strate- degree was conferred on Chief Luthuli. The gic issues, such as support for the arts through Luthuli Legacy Project was launched on the National Lottery 21 August 2004 by President Mbeki. • the annual ACT Awards, which recognise the • Battle of Blood River/Ncome Project: Following important contributions of role-players such as the unveiling of the Ncome Monument and Wall administrators, journalists and educators of Remembrance on 16 December 1998, the • establishing mutually beneficial relationships Ncome Museum was opened on 26 November between the Trust and the arts and culture com- 1999. The structures honour the role played by munity. the Zulu nation in the Battle. • Samora Machel Project: The Samora Machel Other cultural organisations Monument in Mbuzini, Mpumalanga, was Non-governmental organisations (NGOs), communi- unveiled on 19 October 1998. ty-based organisations (CBOs) and other cultural • Nelson Mandela Museum: The Museum was projects which were previously not considered for opened on 11 February 2000. It is being devel- funding are now being funded. oped as a single component comprising three elements, namely a museum in Umtata, a youth Arts and culture centre at Qunu, and a visitors’ centre in Mvezo, where the former President was born. initiatives • Constitution Hill Project: The Old Fort Prison in Hillbrow, Johannesburg, was developed into a Legacy projects multidimensional and multi-purpose precinct Monuments, museums, plaques, outdoor art, her- that houses the Constitutional Court (CC) and itage trails and other symbolic representations cre- accommodates various constitutional commis- ate visible reminders of, and commemorate, the sions. As part of the 10 Years of Freedom cele- many aspects of South Africa’s past. brations, the new CC building was officially Nine national legacy projects were initiated by opened in March 2004. The Constitution Hill government to establish commemorative symbols of project involved the development of the Consti- South Africa's history and celebrate its heritage. tutional Hill precinct to accommodate the CC, The legacy projects include the: the Constitution Museum, the Nelson Mandela • Women’s Monument: A monument to commem- Library and a commercial precinct. orate the contribution of the women of South • Khoisan Project: Consultation with relevant role- Africa to the struggle for freedom was unveiled players at national, provincial and local level has by President Thabo Mbeki on 9 August 2000, at been initiated to promote and protect the the Union Buildings in Pretoria. The ceremony Khoisan heritage. It was decided to develop a marked the day, in 1956, when 20 000 women heritage trail that will showcase the heritage of marched to the Union Buildings to protest the Khoisan people. against the Government’s pass laws. • Freedom Park Project: Construction of the

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Freedom Park Project, a memorial to the anti- It is expected that by 2005, some 6 000 people Apartheid struggle at Salvokop in Pretoria, began from around the country would have benefited from in 2002. learnerships and skills programmes as part of The first phase of the R560-million memorial site CREATE SA. was handed over to government in March 2004. The Cultural Development and International Co- This phase, costing R45 million, involved the design operation Programme is responsible for the and construction of a Garden of Remembrance for Investing in Culture Programme. It focuses on the the country's departed freedom fighters. President crafts, music, heritage and cultural tourism sectors. Mbeki joined traditional leaders in consecrating the Investing in Culture identifies and uses existing skills Garden of Remembrance with the traditional casting within communities and among individuals. It is the away of evil spirits. The second phase is scheduled single most significant intervention the Department for completion in March 2006. is making in the Second Economy. Additional legacy projects were expected to be By mid-2004: announced in 2004. The Department is working • 12 140 jobs had been created with professionals to develop new national policy • 22 258 people had been trained and strategic frameworks to ensure that there is • 428 420 training days had been counted. adequate capacity to implement legacy projects as Examples of partnerships created include: quickly as possible. • Women on the Move which supplies an The Department will co-operate with other imple- Australian company with woven mats mentation agencies, NGOs and CBOs in project roll- • the Khumsani San Project which supplies an out, acting in a management and monitoring role. Italian fashion house with ostrich-shell but- tons Education and training • the Khumbulani Project which exports its products to London and other international destinations. Training is critical for the development of arts and More information is available at www.createsa.org.za. culture, to achieve both the developmental and economic potential of the sector. Cultural tourism The creative industries form part of the Media, Advertising, Publishing, Printing and Packaging Sector Cultural tourism is one of the most rapidly growing Education and Training Authority (MAPPP-SETA). sectors of the multibillion-Rand international tourism Recognising the challenges facing this sector, the industry, and is an area in which South Africa is MAPPP-SETA, in partnership with the departments well-placed to compete. Professional and innovative of Arts and Culture and of Labour, initiated the museums, galleries and theatres are key attractions CREATE SA (Creative Education and Training for cultural tourists. Based on the success of crafts Enterprise South Africa) Strategic Project to develop and cultural projects, the Department will allocate a comprehensive on-the-job training framework for R95 million of poverty-alleviation funding towards the creative industries. The Project is funded by the this end over the next few years. National Skills Fund and the Department of Arts and Culture, and focuses on people who otherwise might Cultural villages not have had access to training opportunities. Most tourists visiting South Africa are eager to Through CREATE SA, learnerships driven by explore the country’s cultural diversity. At the same industry demand have been awarded in a wide range time, an increasing number of local tourists want to of areas, including music, design, crafts, arts man- learn more about the people they were separated agement, heritage and the performing arts. Between from under Apartheid. (See chapter 21: Tourism.) 2003 and June 2004, about 2 000 learnerships or Various projects around the country offer insight skills development programmes had been taken up. into South Africa’s cultural wealth, ranging from tra-

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ditional dances and rituals in rural areas, to excur- • An agreement was signed with the Italian sions into the urban and township milieux that give Republic on 13 March 2002 and ratified in South Africa its defining features. These include January 2004, leveraging a R10-million invest- Khaya Lendaba near Port Elizabeth; the Basotho ment in South African culture. Cultural Village situated in the QwaQwa Nature • Five collaborative projects between the Reserve near Harrismith, Free State; the Makhosini Department of Arts and Culture and the Flemish Cultural Village and Tourism Initiative in the Valley of Government became operational in 2002/03. Kings at Umgungundlovu in KwaZulu-Natal; Lesedi The projects run for a period of three years each, Cultural Village near Johannesburg; Tlholego in in the areas of community arts centre capacity- Magaliesburg; the KoMjekejeke Cultural Village building and policy development, craft, arts edu- north of Pretoria; the Mapoch Ndebele Village in cation and training, cultural management, and Winterveld, north-west of Pretoria; the Gaabo Motho local network cultural policy. The projects total Cultural Village in Mabopane; the Rainbow Cultural about R25 million in Flemish development aid to Village west of the Hartbeespoort Dam, North West; South Africa, with the Department contributing in Botshabelo in Middelburg, Mpumalanga; and kind to the value of about R3 million. Shangana in Hazyview, Mpumalanga. • A Programme of Co-operation with France was signed in June 2004, including collaboration on The Cultural Industries the development of a market for South African design, heritage training, rock art, human lan- Growth Strategy guage technology, music and copyright issues. • South Africa’s membership to the Common- The Cultural Industries Growth Strategy has made a wealth Foundation was expected to be finalised meaningful contribution to the lives of thousands of in 2004. people, while contributing to the growth of the • About 250 artists and performers received sup- tourism and marketing sectors, and promoting South port from the Department to participate in festi- Africa’s identity at local and international level. vals internationally or perform at international The Department of Arts and Culture allocated events and shows. In 2004, about 100 perform- R16,6 million to cultural industries in 2004/05, to ers travelled throughout the world in partnership support music, crafts, books and publishing, film, with South African Missions abroad, in celebra- design and other sectors. tion of 10 Years of Freedom. • In 2003, South Africa hosted the Southern International relations African Development Community (SADC) Multi- disciplinary Festival and the first colloquium of By mid-2004, the Department of Arts and Culture SADC Ministers of Culture, where the Pretoria had maintained over 65 international agreements. Statement on the role of culture in the New Each agreement is the outcome of research and Partnership for Africa’s Development (NEPAD) lengthy negotiation processes to ensure that the was released.A follow-up colloquium was held in contracts meet the developmental interests of both Namibia in September 2004. parties. Strong emphasis is placed on the consolida- • Active cultural agreements were signed with the tion of the African agenda and South-South co- People’s Republic of China, Mexico, India, operation. These include: Hungary and others. • The Joint Swedish/South African Cultural Fund, in which South Africa will partner with Sweden Arts festivals for a five- to 10-year period. The Fund will total contributions to the value of about R57 million The range of arts festivals around South Africa over three years. offers visitors the opportunity to combine their pur-

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suit of culture with sightseeing, wine tasting, beach The Department of Arts and Culture and the visits, wildlife viewing, history, palaeoanthropology Department of Environmental Affairs and Tourism and relaxing in some of South Africa's most beauti- have established a forum of festival directors to ful spots. maximise tourism opportunities. The National Arts Festival, held annually in July in Grahamstown, Eastern Cape, is one of the largest Theatre and most diverse arts gatherings of its kind staged in Africa, rating favourably with similar international The theatre scene in South Africa is vibrant, with festivals. It showcases southern African talent in all many active spaces across the country offering arts disciplines. everything from indigenous drama, music, dance, There is also growing interest and participation cabaret and satire, to West End and Broadway hits, from artists in other African countries and from the classical opera and ballet. rest of the world. Apart from early productions, notably the ground- The Klein Karoo Nasionale Kunstefees is a breaking musical King Kong in the 1960s, theatre vibrant festival for the performing arts, presented created in South Africa by South Africans only began mainly, but not exclusively, in Afrikaans. It is held to make an impact with the advent of Johannes- annually in Oudtshoorn in the first quarter of the year. burg’s innovative Market Theatre in the mid-1970s, Disciplines include drama, cabaret and contemporary just as the cultural, sporting and academic boycott and classical music. The festival celebrated its 10th was taking hold. anniversary in 2004. It was opened in April 2004 by The performing arts marketed South Africa to President Mbeki, who, on the occassion, also overseas audiences most effectively during the received the Freedom of Oudtshoorn. 1980s, specifically through theatre and musical The Arts Alive International Festival, Johannes- productions. South African theatre is internationally burg’s annual festival of music, dance, theatre and acclaimed as unique and top-class. performance-poetry, was hosted by the city for the 13th time in September 2004. Music Heritage reclamation festivals are also emerging at local level in communities destroyed by Apartheid South African music is characterised by its fusion of such as Vrededorp (Fietas) in Johannesburg. diverse musical forms. The Mangaung Cultural Festival (Macufe) is gain- South Africa has nurtured the development of an ing status as one of the biggest cultural tourism array of distinctive styles of music, and it has con- events in southern Africa, attracting 130 000 people tributed significantly to music heard on the continent. in 2003. These styles range from South African jazz, Aardklop, held annually in Potchefstroom, is which describes a range of music from early inherently Afrikaans, but universal in character. The marabi-inspired sounds in the late-1930s and festival provides a platform for the creativity and tal- 1940s by bands like the Marry Blackbirds ent of local artists. Orchestra, to current performers such as trum- Other festivals that attract visitors at both nation- peter Hugh Masekela. al and international level are Oppikoppi, Calabash, Kwaito music is very popular. It combines ele- The One City Festival, and the Awesome Africa ments of rap, reggae, hip-hop and other musical Music Festival in Durban. styles into a distinctly South African style. Popular The Department of Arts and Culture and the NAC kwaito musicians include Arthur Mafokate, support numerous festivals throughout South Africa, Mzekezeke, Bongo Maffin, Zola, TKZee, Skwatta including the North Sea Jazz Festival, Port St Johns Kamp, Mandoza and Mdu. Festival, Morgan’s Bay Festival and the Grahams- The International Federation of Phonographic town National Arts Festival. Industries Report released in April 2004 reported

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that global music sales in 2003 were down 7% from Indigenous music 2002. The Department has been funding the annual According to figures released by the Recording National Traditional Dance and Music Festival called Industry of South Africa, music turnover in the coun- Zindala Zombili, under the auspices of the African try was R705 million in 2003, virtually unchanged Cultural Heritage Trust. This platform showcases from R704 in 2002. However, there was a marked and promotes the rich and diverse indigenous tradi- increase in the value of local music sold – from tional dance and music of South Africa. some R192 million in 2002 to R225 million in 2003 The Festival consists of 22 regional and eight – representing a 17% increase. provincial competitions, culminating in a national Music is one of the key cultural industries identi- festival. fied in the Cultural Industrial Growth Strategy During 2003/04, the Minister of Arts and Culture Report, and government has committed itself to approved funding for research on indigenous music harnessing its potential. In addition to its cultural and oral history to be conducted at three historical- value, music plays an important economic role in ly disadvantaged universities in South Africa, name- the country, generating significant copyright rev- ly the universities of Fort Hare, Zululand and Venda. enue. This research will focus on all aspects of indige- In music, the Department has solid foundations nous music, including performances, musical instru- to build on. These include the annual South African ments, and the oral history that accompanies this Music Week, the in-school education programme previously neglected part of South Africa’s heritage. run in conjunction with the Department of Education, and the Music in Public Spaces Dance Initiative. The Department’s three-year plan for music South African dance is unique in its vitality and ener- includes establishing a legal aid facility for musi- gy. More and more South African dance companies, cians, setting up a benevolent fund for artists, individual dancers and choreographers are being establishing a music industry export council, and implementing a levy on blank tapes. It also aims to introduce a regulatory framework in 2005 that will standardise contracts and work permits for musi- The Subdirectorate: Arts and Social cians. Development in the Department of Arts and Culture is responsible for initiating and managing projects and The North Sea Jazz Festival secured South programmes aimed at social cohesion. Its primary Africa's position on the international jazz circuit focus is on youth, HIV and AIDS, crime prevention, when it took place for the first time on African soil in human rights and disability. March 2001. The North Sea Jazz Festival held in The Arts in Prisons Project focuses on using the arts to modify the behaviour of offenders serving time in Cape Town had a unique programming formula. prison. In July 2004, the Outstanding Inmate in Arts, With a 50/50 talent split between Africa and the rest and Dramatists Against Crime projects commenced, in of the world, the South African Festival allowed co-operation with the Department of Correctional Services. local musicians to take their rightful place alongside Its subprogramme, the Promotion of Arts and international artists. Culture in South Africa, develops the literary, performing and visual arts by providing financial assistance to Orchestras performing arts institutions. It is active in 24 community arts centres around the country and funds 10 festi- The Department of Arts and Culture allocated vals every year. R9 million to orchestras in 2004/05. Three orches- In 2003/04, the Department successfully assisted tras received government assistance in 2003/04. 15 historically disadvantaged community arts centres Two new orchestras were envisaged for 2004/05. with their funding applications to the National Lottery Distribution Fund. The R5-million application was approved by the Fund.

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invited to perform at festivals throughout Europe, gallery in Pretoria. There are also several corporate Australia and the United States of America (USA). collections of national interest, including those of Contemporary work ranges from normal precon- Standard and Absa banks, and the MTN cellular ceptions of movement and performance art or per- phone network. formance theatre to the completely unconventional. The Department of Arts and Culture supports a Added to this is the African experience, which number of projects that promote the visual arts. includes traditional dance inspired by wedding ce- These range from arts publications and women- remonies, battles, rituals and the trifles of everyday empowerment programmes to national and interna- life. tional exhibitions and infrastructure funding. An informal but highly versatile performance The Department considers the visual arts, crafts venue in Johannesburg, The Dance Factory, pro- and design as integral to arts and culture. It is par- vides a permanent platform for all kinds of dance ticularly interested in the application of interdiscipli- and movement groups. nary technology to develop the arts. The Wits Theatre (attached to the University of the To celebrate 10 Years of Freedom, Iziko: South Witwatersrand) is also a popular dance venue. It is African National Gallery showcased a comprehen- home to the annual First National Bank (FNB) Dance sive exhibition featuring works of art made and Umbrella. acquired between 1994 and 2004. This annual festival of contemporary choreogra- Works of art produced by over 150 South phy and dance offers a free platform for original new African artists were on view in nine rooms work, to promote the development of creative talent throughout the Gallery. Works by major artists such on every level. as Jane Alexander, Willie Bester, Marlene Dumas, The FNB Dance Umbrella hosts community and Kendell Geers, David Goldblatt, William Kentridge, youth groups, young up-and-coming choreogra- Moshekwa Langa, Zwelethu Mthethwa, Malcolm phers, and established South African and interna- Payne, Johannes Phokela, Berni Searle and Tracey tional dance companies. Rose were seen alongside the work of emerging The 2004 Dance Umbrella, held in February and artists such as Thembinkosi Goniwe, Thando March, featured 20 programmes, including new Mama, Colbert Mashile, Robin Rhode, Usha works by 10 commissioned South African choreo- Seejarim, Mgcineni Pro Sobopha and Doreen graphers, and shows by five international dance Southwood. companies. Started in 1934 as the University of Cape Town Photography Ballet Company, the Cape Town City Ballet is the oldest ballet company in the country. Various South African photographers have been acclaimed for their art and documentary work. A Visual arts growing number of South African photographers are producing documentaries, coffee-table books and Art galleries in South Africa’s major cities, such as other material. the Durban Art Gallery in KwaZulu-Natal; the National and international photographic salons Johannesburg Art Gallery in Gauteng; and the King are held in South Africa annually, and various George VI Gallery in Port Elizabeth in the Eastern national awards are bestowed on outstanding local Cape; showcase collections of indigenous, historical photographers. and contemporary works. Universities also play an important role in acquir- Architecture ing works of national interest, with substantial collections housed at the Gertrude Posel Gallery at South Africa has a rich architectural heritage, to Wits, and the University of South Africa (UNISA) which all the cultural groups in the country have

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contributed. The SAHRA conserves buildings of his- Crafts torical or architectural value. More than 4 000 buildings, sites and other objects (including trees) have The crafts industry in South Africa employs about a been declared national monuments. million people. The crafts they produce are exported Heritage South Africa a non-profit private organi- all over the world. sation that conserves South Africa’s rich architec- The development of South Africa’s crafts industry ture. is an ongoing priority for government, through the Department of Arts and Culture. There are numer- Rock art ous role-players involved in various initiatives to develop this sector. There are many traces of ancient cultures that The National Crafts Development Initiative, spear- roamed the country in the distant past. The San headed by the NAC and supported by several people left a priceless and unique collection of national bodies, is one such example, providing a Stone Age paintings and engravings in South Africa, platform for growing the local market by staging which is also the largest in the world. The moun- craft fairs at various levels. tains, especially the Drakensberg range and the Together with the Department of Trade and Cape mountains, are home to fascinating rock art Industry, the Department of Arts and Culture is panels. developing a craft marketing strategy geared at Rock engravings are scattered on flat rock sur- enhancing export opportunities to curb the exploita- faces and boulders throughout the interior. The art- tion of crafters. The Minister of Arts and Culture will works mainly depict hunter-gatherers and their rela- be entering into discussions with crafters to encour- tionship with the animal world, historical events, and age their mutual support and protection. interaction with and observation of newcomers The Department will also set up a national crafts encroaching upon their living space. Indigenous council to empower crafters with business skills. people with spears and Nguni cattle, Khoi-Khoin fat- The biggest intervention from government and tailed sheep, European settlers on horseback with other craft development agencies is with regard to rifles and wagons, and ships and soldiers in uniform training. This covers areas such as product develop- were captured in surprising detail. ment, design and diversification; sustainable use of On the sandstone canvases are immortalised raw material; craft techniques and skills; costing visions of the artists’ spiritual world, depicting com- and pricing; marketing and selling; managing a plex symbols and metaphors to illustrate the super- crafts business; financial management and busi- natural powers and potency they received from ness administration. nature. Examples of successful craft projects include the The oldest dated rock art in South Africa, an rural development projects in Limpopo, where the engraved stone, was discovered in a living floor Council for Scientific and Industrial Research (CSIR) some 10 200 years old at the Wonderwerk Cave linked with various rural craft projects to develop near Kuruman in the Northern Cape. new products. In Thohoyandou, in Limpopo, the Ifa The oldest painted stones (6 400 years) were textile project is producing fashionable handbags in recovered at Boomplaas Cave in the Cango Valley traditional Venda design, while the crafters of the near Oudtshoorn. Lubombo Spatial Development Initiative in northern Three painted stones were also found at the KwaZulu-Natal have incorporated minimal interven- Klasies River Caves, which yielded the second- tions in their designs to produce butter dishes, thus oldest stone, dating back 3 900 years. creating new marketing opportunities. The Department of Arts and Culture supports a The Department has 115 craft projects in all nine number of projects, including a rock heritage project provinces. The products of these and other projects in Clanwilliam in the Western Cape. can be viewed at a number of venues, including two

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State-assisted outlets at the Bus Factory in and has been passed down from generation to gen- Newtown, Johannesburg, and the Boardwalk in Port eration as an important way of sharing advice, Elizabeth. remembering history, telling stories and reflecting on contemporary society. Design The African Languages Literary Museum at UNISA caters for all indigenous languages. Featured The Department of Arts and Culture has launched a authors include Prof. Maja Serudu, E.M. Ramaila, number of initiatives aimed at creating centres of O.K. Matsepe and Semakaleng Monyaise. The Mu- expertise. These have promoted collaborative ventures seum also features books, manuscripts, old type- between the private and public sectors in areas of writers used by certain African writers, antiques, and product design and the use of computer-aided design authors’ portraits. engineering. The initiatives involve the following: There is an English literary museum in Grahams- • The launch of the National Product Develop- town and an Afrikaans museum in Bloemfontein. ment Centre at the CSIR. This initiative operates The Print Industries Cluster Council established a within a national framework, optimising the con- writer’s network in 2000. tributions of service-providers throughout the The National Language Service of the Department country in the area of design technology. of Arts and Culture is encouraging the emergence of • The launch of the computer-aided design initia- new literary magazines in English, Afrikaans and all tive at the CSIR, which is linked to the technolo- the African languages. The Department of Arts and gy station at the Free State University of Culture plans on consulting with publishers about the Technology as well as similar institutions in development of a national strategy to promote a read- KwaZulu-Natal and the Eastern Cape. ing culture in South Africa. • The establishment of the Cape Craft and Design The Department will also be addressing the chal- Institute. lenge of preserving indigenous language writings • The award of learnerships in design through dating from the mid-19th century. To achieve this, it CREATE SA to help emerging designers. will embark on initiatives to reproduce these old • The seventh International Design Indaba, held in works in various African languages. Cape Town in February 2004. A comprehensive study on the print industry, funded by the Print Industries Cluster Council, Literature established that the industry has an estimated annual turnover of R1,5 billion, pays royalties to South Africa has a vibrant and rich oral tradition. some 8 309 authors/other parties, and employs This form of expression goes back many centuries, more than 3 000 people. Film

During the 2004 South African Music The South African film industry is clustered around Awards held at the end of May 2004, Arno Carstens Cape Town and Johannesburg. There are over won the Award for Best Rock Album. Best Male Artist Award went to Zim Ngqawana. He also took home 1 000 registered producers in South Africa. the Award for Best South African Traditional Jazz South Africa also boasts outstanding production Album. and post-production facilities, as well as a strong Swazi walked away with the prize for Best Female Artist for My First Love. The late Brenda Fassie's skills base. The cost of film production in South Vulindlela was announced as the winning Song of the Africa is 30% – 40% cheaper than in the USA, and Decade by popular vote. The top award, for Artist of the Year, by popular 20% less than in Australia. acclaim, went to Mzekezeke. His song Akekhu'Gogo The total value of the South African entertainment was named Song of the Year. industry is estimated at R7,7 billion, comprising film

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and television production, broadcast, cinema and increase their capabilities in the media and enter- interactive industries. Of this, the local production tainment sector. The increase in the number of tele- industry accounts for R1,4 billion. vision channels available to South African viewers Given the growth potential of the film industry in has resulted in an increased demand for local pro- the country, the National Film and Video Foundation gramming, due to local-content quotas. In South (NFVF) was established to increase local content Africa, locally produced television productions are quotas for television, which has had a positive extremely popular with viewers. impact on the growth of the local film industry. South African broadcasters are exploring oppor- In 2003, 24 films were produced in South Africa, tunities to distribute local productions in the rest of of which the NFVF invested in 16. Africa through direct sales and a form of bartering, The industry received a big boost with the launch where content is exchanged for advertising airtime. of the Film and Television Production Rebate by the This is expected to increase the demand for locally Department of Trade and Industry in June 2004. produced television content. The aim of the Rebate is to provide for the pro- The three largest film distributors in South Africa duction of both foreign and local large-budget films are Ster-Kinekor, United International Pictures and made in South Africa or under co-production agree- Nu-Metro. Ster-Kinekor has a specialised art cir- ments. cuit called Cinema Nouveau with theatres in For a company to be eligible for the Rebate, it Johannesburg, Cape Town, Durban and Pretoria. must be a South African resident company, or a non-South African resident company with a South The Film and Publication Board African business registration that is operating with a The Films and Publications Act, 1996 (Act 65 of permanent establishment in the country. 1996), as amended by the Films and Publications The Rebate complements existing support meas- Amendment Act, 1999 (Act 34 of 1999), provides ures. for the regulation of films and publications in- In May, at Cannes 2004, the NFVF signed an tended for distribution and/or exhibition in South agreement with Le Centre National de la Africa. Cinématographie (the French equivalent of the The Act recognises the right of all South Africans NFVF) and had numerous meetings, especially with to freely choose what they wish to watch or read. It the Canadian, Italian and German delegations. encroaches on constitutional rights and freedoms By mid-2004, South Africa had co-production only where there is a risk of harm. The Act allows for treaties with both Canada and Italy, and was expect- the invasion of privacy only where child pornography ing to sign the German Treaty in November 2004 at is concerned. The implementation of the Act has the Sithengi Film and Television Market in Cape been entrusted to the Film and Publication Board, Town. which consists of members appointed through a Meetings also took place between the NFVF and process of public nominations. representatives from the Venice, Genoa and Toronto The Film and Publication Board no longer cen- film festivals. All three festivals had a special focus sors, but instead classifies movies for age appropri- on South Africa in 2004, showcasing local films and profiling the local industry as part of the 10 Years of Freedom celebrations. The biggest film festival on the African continent, In January 2004, South African- Fespaco, which takes place on a bi-annual basis in born actress Charlize Theron, now based in the United States of America, won the Golden Globe Ouagadougou, Burkina Faso, also hosted a special Award for Best Actress for her performance in programme on the South African film industry. Monster. Later the same month, she also received the A number of large South African media compa- Academy Award for Best Actress, becoming the first South African to clinch the coveted acting Award. She nies have acquired production companies to received a total of 16 awards for this performance.

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ateness. Its main focus is to protect children from In February 2004, the Film and Publications harmful and disturbing material, while allowing Amendment Bill, aimed at tightening child porno- adults to make informed decisions about what they graphy laws and closing loopholes, was presented want and do not want to watch, or allow their chil- to Parliament. The Bill's aim is to make provision for dren to watch or not to watch. There is no pre- the prohibition of child pornography and for more classification of magazines. Publications are classi- effective investigation and prosecution of child fied only when a valid complaint about a certain pornography offenders. publication is lodged with the Board. The Bill also seeks to: In terms of legislation, the Board may ban the • amend the definition of child pornography, as the distribution of visual material containing: current definition is limited to images and the • sexual acts involving persons under the age of display of genitals 18 years or who appear to be under the age of • bring Internet service-providers (ISPs) within its 18 years jurisdiction insofar as child pornography is con- • bestiality cerned • explicit violent acts that promote violence • impose an obligation on persons who have • material that promotes religious hatred material, which is potentially disturbing and • explicit violent acts coupled with sexual conduct. harmful to children, to take reasonable steps to Although such material, classified as XX, is only prevent access to such material by children banned from distribution, the possession of child • address the problem of child pornography on the pornography is a criminal offence. People found Internet by bringing ISPs within the jurisdiction of guilty of possessing child pornography face up to the Act five years in prison for each item found. The Act has • increase the maximum prison sentence for been amended to include the regulation and control offences involving child pornography from five to of child pornography on the Internet, and a more 10 years. precise definition of what constitutes child pornography. The Act also provides for the regulation of Museums trade in previously banned, sexually explicit material. Adult shops that do not comply with the require- Museums are the windows to the natural and cul- ments of the Act could be closed by the Board for up tural heritage of a country. South Africa can justifi- to a year. ably be called the museum country of Africa, with the earliest of its museums dating back to the first half of the 19th century. Today, more than 300 of the approximately 1 000 museums in Africa are situated in South The first-ever isiZulu feature film Africa. They range from museums of geology, histo- Yesterday, produced by Anant Singh, premiered at the ry, the biological sciences and the arts, to mining, 25th Durban International Film Festival in June 2004. Writer/director Darrell Roodt, and its lead stars agriculture, forestry and many other disciplines. Leleti Khumalo, Kenneth Kambule, Camilla Walker Most of the country’s national museums are and Lihle Mvelase, attended the premiere. declared cultural institutions (national museums that The film was shot on location in the Bergville region in KwaZulu-Natal. have framework autonomy and are managed by Apart from being the first-ever isiZulu feature film, their own councils), and fall under the overall juris- Yesterday is also the first feature film to have the diction of the Department of Arts and Culture. They support of the Nelson Mandela Foundation, which will use the film as a resource in its Social Development receive an annual subsidy from the Department, but Programme. are otherwise autonomous. Yesterday received the inaugural Human Rights In terms of the Cultural Institutions Act, 1998 (Act Film Award at the Venice International Festival in September 2004. 119 of 1998), the declared museum institutions in

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Gauteng and Cape Town have been grouped togeth- Museum (Pietermaritzburg); the South African er into two new organisations, known as Flagship Institute for Aquatic Biodiversity in Grahamstown; and Institutions. While the components of these two the Foundation for Education, Science and museum flagships (the museums from which they Technology in Pretoria, which manages a science and have been constituted) continue to operate as semi- technology museum. The latter two museums fall independent museums with regard to their core under the Department of Science and Technology. functions (collection, preservation, research and The Act also provides for a National Museums education), other functions, particularly administra- Division, comprising the Flagship museums and tion, financing and human resource management, other declared museums. have been centralised. The Robben Island Museum is very popular. It The following museums report to the Minister of was established as a national monument and mu- Arts and Culture in terms of the Act: seum, and declared as South Africa’s first World • Northern Flagship Institution, Pretoria Heritage Site in 1999. Guided tours are offered to • Iziko Museums, Cape Town historical sites on the Island, including the cell in • Natal Museum, Pietermaritzburg which former President Mandela was imprisoned. • National Museum, Bloemfontein The Robben Island Museum has its own council and • Afrikaanse Taalmuseum, Paarl is a separate declared institution, independent of • National English Literary Museum, Grahamstown Iziko. • Voortrekker Museum, Pietermaritzburg Apart from the declared museums that fall under • War Museum of the Boer Republics, Bloem- the Department, there are also a number of other fontein national museums, which are administered by cen- • Robben Island Museum, Cape Town tral government departments or research councils. • William Humphreys Art Gallery, Kimberley Notable examples are the Museum of the Council • Engelenburg House Art Collection, Pretoria for Geoscience (Pretoria); the Theiler Veterinary • Nelson Mandela Museum, Umtata. Science Museum at Onderstepoort (Pretoria); the The Northern Flagship consists of the National South African Air Force Museum at Air Force Base Cultural History Museum (NCHM) and its former Zwartkop (Pretoria) with its satellites in Cape Town, satellite museums (Kruger House, Tswaing Crater Port Elizabeth and Durban; the Museum of the Museum, Willem Prinsloo Agricultural Museum, Department of Correctional Services (Pretoria); and Pioneer Museum, Sammy Marks Museum and the the Porcinarium (the world’s first pig museum) out- Coert Steynberg Museum), the Transvaal Museum side Pretoria on the Irene Campus of the Agricultural of Natural History in Pretoria, and the South African Research Council. National Museum of Military History in Johannes- A number of museums fall directly or indirectly burg. under the provincial government departments The Southern Flagship (renamed Iziko Museums responsible for Arts and Culture. In some provinces, of Cape Town) consists of the South African these museums render museum support services at Museum, South African Cultural History Museum provincial level, while other provinces, notably and its satellite museums, the South African Gauteng, KwaZulu-Natal, Western Cape and the Free National Gallery, the William Fehr Collection, and the State, have separate museum-service organisations. Michaelis Collection. However, many museum and heritage services In terms of the Cultural Institutions Act, 1998, the are also rendered by the declared national mu- declared museums in other provinces continue to seums on a consultancy basis. Many municipalities operate as before. These include the National also manage museums. Other museums fall under Museum and the Anglo-Boer War Museum universities and university departments, or are (Bloemfontein); the William Humphreys Art Gallery owned and managed by private-sector companies, (Kimberley); the Natal Museum and the Voortrekker NGOs and individuals.

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The largest museums are situated in Johannes- The South African Museum (Cape Town) show- burg, Pretoria, Cape Town, Durban, Pietermaritzburg cases the natural history of South Africa, as well as and Bloemfontein. The best-known natural history relics of the early human inhabitants of the subcon- collections in South Africa are housed in the Iziko tinent. The huge Whale Hall houses possibly the Museums and the Northern Flagship Institution, as most impressive of all its exhibitions. This is the only well as in the following: collection in South Africa with a planetarium • Natal Museum, Pietermaritzburg attached to it. • National Museum, Bloemfontein The Transvaal Museum in Pretoria houses the • McGregor Museum, Kimberley skull of Mr Ples (until recently believed to Mrs • East London Museum Ples), a 2,5-million-year-old hominid fossil, and • South African Institute for Aquatic Biodiversity, depicts the origin and development of life in South Grahamstown Africa, from the most primitive unicellular form of • Port Elizabeth Museum life to the emergence of mammals and the first • Durban Museum of Natural History. human beings. It has a collection of early human The best-known cultural-history collections are fossils. housed in the Iziko Museums and the Northern The Tswaing Meteorite Crater is situated to the Flagship Institution, as well as in the following: north-west of Pretoria. It supports the Presidential • National Museum, Bloemfontein Imperatives by combining a museum with a cultur- • Natal Museum, Pietermaritzburg al-development initiative. • Durban Local History Museum The NCHM (former African Window) in Pretoria is • Museum Africa, Johannesburg. a centre for the preservation and communication of Among the art museums are the following: the culture and heritage of all South Africans. It • South African National Gallery, Cape Town explores cultural diversity and commonalities, links • Johannesburg Art Gallery the present and the past to offer a better under- • Pretoria Art Museum standing of both, and nurtures the living culture of • William Humphreys Art Gallery, Kimberley. all South Africans. The South African Cultural History Museum in Cape Mining is best represented by the De Beers Town houses the oldest cultural history collection in Museum at the Big Hole in Kimberley, where visitors the country. can view the biggest hole ever made by man with pick and shovel. It includes an open-air museum, which houses many buildings dating back to the era of the diamond diggings. Another important mining museum is at Pilgrim’s In 2003/04, substantial progress was made with the declared cultural institutions situated Rest, Mpumalanga, where the first economically in six of the provinces. New councils were viable goldfield was discovered. The entire village established for all 13 bodies, and a transformation has been conserved and restored. budget of R7 million was distributed. The new councils have to improve access to the Agriculture in South Africa is depicted mainly at museum infrastructure; develop new audiences; two museums. These are Kleinplasie in Worcester, develop human resources; implement an affirmative Western Cape, which showcases the wine culture action policy by training, grooming and appointing a new generation of curators and managers from all and the characteristic architecture of the winelands; races; implement community outreach programmes; and the Willem Prinsloo Agricultural Museum introduce acquisition policies that accord indigenous artefacts their rightful place; and integrate living between Pretoria and Bronkhorstspruit in Gauteng. heritage in the form of oral tradition, oral history and This Museum comprises two ‘house’ museums, and indigenous knowledge systems into the ambit of runs educational programmes based on their exten- South Africa’s heritage institutions. More than R340 million was set aside for these sive collection of early farming implements, vehicles institutions in 2004/05. of yesteryear, and indigenous farm animals.

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The Absa Museum and Archives in Johannes- are accessible to the public and the office of origin. burg, which belongs to Amalgamated Banks of National Archives functions in terms of the National South Africa (Absa), aims to preserve the banking Archives and Records Service of South Africa Act, group’s more than 110 years of history. It also hous- 1996 (Act 43 of 1996). es a unique and very valuable coin and banknote The National Archives in Pretoria include the collection. National Film, Video and Sound Archives (NAFVSA). The Apartheid Museum in Johannesburg offers a Its primary functions are to obtain and preserve realistic portrayal of the political situation in South films, videotapes and sound recordings of archival Africa during the 1970s and 1980s. Exhibitions in value, and to make these available for research and the Museum feature, among other things, audio- reference purposes. visual footage recorded during the Apartheid era. The archives of central government are pre- One of the most common types of museum in served in the National Archives Repository in South Africa is the ‘house’ museum. Examples Pretoria. Provincial archive repositories in Pretoria, include an entire village nucleus in Stellenbosch; an Cape Town, Pietermaritzburg, Durban, Ulundi, example of the lifestyle of the wealthy wine farmer in Umtata, Port Elizabeth and Bloemfontein house Groot Constantia in the Western Cape; the mansion of archives dating from before 1910, as well as the rel- the millionaire industrialist Sammy Marks, outside evant provincial archives. Record centres for Pretoria; the Victorian affluence mirrored in Melrose archives younger than 20 years exist in Pretoria, House, Pretoria; and the Kruger House Museum in Bloemfontein and Cape Town. Pretoria, former residence of President Paul Kruger. The retrieval of information from archives is facil- Simpler architectural variations have not been itated by the national automated archival informa- neglected, for instance the pioneer-dwelling in tion system (www.national.archives.gov.za), which Silverton, Pretoria, and the humble farmhouse at includes national registers of manuscripts, photo- Suikerbosrand near Heidelberg in Gauteng. There graphs and audio-visual material. National Archives are several open-air museums which showcase the also renders a comprehensive record-management Black cultures of the country, for example service for current records, aimed at promoting effi- Tsongakraal near Letsitele, Limpopo; the Ndebele cient administration. Museum at Middelburg, Mpumalanga; the Bakone During 2004, National Archives collaborated with Malapa Museum at Polokwane, Limpopo; and the the South African Bureau of Standards to adopt a South Sotho Museum at Witsieshoek, Free State. national standard for records management. South Africa has two national military history An important aspect of the Act is its mandate to museums. The South African Museum for Military National Archives to collect non-public records with History in Johannesburg reflects the military history enduring value of national significance. In so doing, of the country, while the War Museum in National Archives is obliged to pay special attention Bloemfontein depicts the Anglo-Boer/South African to aspects of the nation’s experience neglected by War in particular. The famous battlefields of archives of the past. A key project in this regard is KwaZulu-Natal, Northern Cape and North West are also worth a visit. The work of the War-Graves Division of the SAHRA includes the upkeep of the graves of victims The Department of Arts and Culture of the struggle for South Africa’s liberation. honoured one of South Africa’s most-loved musicians, Miriam Makeba, at a special event on 16 July 2004. The event formed part of the 10 Years of Freedom Archives and heraldry celebrations and the 40th anniversary of the National Film, Video and Sound Archives. This celebration also marked the 41st anniversary Archives of governmental bodies are transferred to of the first time that Makeba gave evidence to the archive repositories after a period of 20 years, and Anti-Apartheid Committee of the United Nations.

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the Oral History Project, which seeks to build the of rank and offices of order; as well as the registra- National Archives’ capacity to document the spoken tion of names and uniforms (colours) of associations word, and to develop a national oral history pro- and organisations, such as universities. gramme. The automated National Register of Oral The Timbuktu Manuscripts Project was officially Sources is an important element of the project. The launched by President Mbeki and President Amadou Act also provides government with a measure of Toumani Toure of Mali as Africa’s very first NEPAD control over private collections. Archives are taken cultural project, on Africa Day, 25 May 2003. to the people through co-ordinated national and The preservation of the Timbuktu Manuscripts is provincial archive services. At the same time, a Presidential Project co-ordinated by The National Archives is responsible for trying to ensure Presidency and the Department of Arts and Culture effective, transparent and accountable manage- through the National Archives. ment of all public records. President Mbeki first noted the existence of these The NAFVSA celebrated its 40th anniversary on manuscripts, which are believed to be more than 3 April 2004. During the First Decade of Freedom, 800 years old, during a visit to the Institut Des NAFVSA was granted full membership of institutions Hautes et de la Recherche Islamique (IHERI-AB) as such as the Federation of International Film part of his State visit to Mali in 2001. Archives. It participated in training and preservation He subsequently undertook that South Africa projects in Africa, such as Tanzania's National Film would assist with the preservation of the Heritage Project, and hosted the International Manuscripts through exchange training and infra- Association of Sound and Audio-Visual Archives structure-development programmes. Conference. The NAFVSA also established the The National Archives of South Africa will lead the African Branch for the Association of Sound and programme to build the infrastructure and develop Audio-Visual Archives. skills in conservation and preservation management The Bureau of Heraldry is responsible for the re- for the staff at IHERI-AB. A Trust Fund for the preser- gistration of coats of arms; badges and other vation of the Manuscripts was launched on 29 May emblems such as flags, seals, medals and insignia 2003.

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Acknowledgements BuaNews Department of Arts and Culture Department of Home Affairs Film and Publication Board National Cultural History Museum Sunday Times www.basa.co.za www.createsa.org.za www.gov.za www.nac.org.za www.southafrica.info