12. Feedback Report on Alignment and Reviewed Draft For

ANNEXURE A

City of Tshwane Metropolitan Municipality

MUSEUM, ART GALLERY AND HERITAGE SITE POLICY

THE CITY OF TSHWANE: MUSEUM, ART GALLERY AND HERITAGE SITE POLICY

INTRODUCTION

The City of Tshwane Museum, Art Gallery and Heritage Site Policy affects such aspects as development, the provision of resources, the quality of collection, and its reputation in heritage circles, the quality of service to society, its public image and even the balance between professional and political goals.

The policy outlines the goals and strategies and reflects the projected future of the City of Tshwane Metropolitan Municipality museums, art galleries and heritage sites. If ever there was a valued resource, it is the material evidence of our society’s culture and heritage.

A policy is essential to define the collecting style, the character and interpretation of the collection. Such a document regulates the collection and exhibition of artefacts and prevents the acceptance and exhibition of any unworthy objects.

This policy is drafted in accordance with the ICOM (International Council of Museums) Code of Museum Ethics to ensure professional museum standards. The cornerstone of ICOM is its ICOM Code of Ethics for Museums. It sets minimum standards of professional practice and performance for museums and their staff and the Museums undertake to abide by this Code.

The South African Museums Association museum accreditation system and grading scheme provides guidelines for minimum standards.

Definition of a Museum:

A non-profit making, permanent institution in the service of society and of its development, open to the public, which acquires, conserves, researches, communicates and exhibits for the purpose of study, education and enjoyment, material evidence of man and his environment.

Educational and Community Role of the Museum:

A museum is an institution in the service of society and of its development and is generally open to the public.

The museums have an important duty to develop its educational role and attract wider audiences from all levels of the community, locality, or group it serves. It should offer opportunities for such people to become involved in the museums and to support their goals and activities.

Interaction with the constituent community is an integral part of realising the educational role of the museums and specialist staff is likely to be required for this purpose.

Public Access:

Museum displays and other facilities should be physically and intellectually accessible to the public during reasonable hours and for regular periods. The museums should also offer the public reasonable access to members of staff and to collections not displayed or exhibited, by appointment or other arrangement. As holders of primary evidence, the museums have a particular responsibility for making collections available to scholars as freely as possible. Access to requested information about the collections should be granted, subject to restrictions for reasons of confidentiality and security.

Displays, Exhibitions and Special Activities:

The primary duties and core business of the museums are to preserve its collections for the future and use them for the development and dissemination of knowledge, through research, educational work, permanent displays, temporary exhibitions and other special activities. These should be in accordance with the stated policy and educational purpose of the museum, and should not compromise either the quality or the proper care of the collections.

Loans to and from the Museums:

The loan of objects, incoming and outgoing, and the mounting or borrowing of loan exhibitions can have an important role in enhancing the interest and quality of a museum and its services. Loans should not be accepted or exhibited if they are of undocumented origin or do not have a valid educational, scientific or academic purpose, consistent with the museum's objectives. Objects from a museum collection should be loaned only for scientific, research or educational purposes. They should not be loaned to private individuals.

Accreditation:

Accreditation involves the quality evaluation of institutions and the ability of such an institution to fulfil the criteria of minimum standards based on international professional standards, which are the foundation of museum professionalism.

COLLECTION

Acquisitions to Museum Collections:

All objects acquired should be consistent with the objectives defined in this policy and selected with the expectation of permanency and not for eventual disposal. Acquisitions of objects or specimens outside the stated policy should only be made in very exceptional circumstances and then only after careful consideration by the governing

body of the museum. The governing body should have regard to the professional opinion available to them, such as museum curators, the interests of the object or specimen under consideration, the national or other cultural or natural heritage and the special interests of other museums.

Purpose and function of the collection:

The collection is the hub of the Museums: without it no other museum functions are possible. The acquisition of artworks is therefore a great responsibility. The collections of museums are never static; museums improve their collections through the addition of new items. These are obtained through donations, bequests, loans or purchases.

A collection strategy involves a dedicated search in the selection of items and the responsibility that goes with it, deferring to the ICOM Code of Museum Ethics. Collection requires a regular capital budget to acquire major pieces for the collection. The collections budget is meant to acquire items for the permanent collections which appreciates in value. This acquisition fund should not be used for purchasing office decorations and furniture which depreciate in value and are eventually written off. The collecting style will define the character and interpretation of the collection and influence the way in which the collection will be cared for and utilized.

The acquisition of cultural / heritage objects, whether by purchase or donation, will be consistent with:

. The relevant South African Laws (e.g. National Heritage Resources Act of 1999) . The South African Heritage Resources Agency (SAHRA) . The Code of Ethics and Laws of UNESCO . The Code of Ethics of the International Council of Museums (ICOM) . South African Museums Association (SAMA), and . The National Heritage Council

The Museums subscribe to a policy of selective acquisition. However, because of thematic, space and financial limitations the Museums can not engage in indiscriminate acquisition. It is not feasible, desirable or ethical for the Museums to allow unrestricted growth of its collections. The Museums will only collect objects that they are able to care for and use in a manner acceptable to the museum profession at large. The budget provided for additions to the permanent collection should not be used for any other purpose than acquiring museum objects.

This acquisition policy is a guideline for the future and is not rigid as shifts in attitudes and priorities have occurred in the past and are expected in the future. This policy shall reflect current cultural, scholarly, educational and museological standards, and shall meet the ongoing research, display and educational requirements of the Museums. As these are subject to change the policy should be reviewed at least once every five years. Acquisitions outside the current stated policy may only be made in very exceptional circumstances, and then only after full and careful consideration.

Objects donated or bequeathed to and accepted by the Museums become the full legal and irrevocable property of the City of Tshwane Metropolitan Municipality’s heritage collection, only to be housed at the relevant museum. In no case will objects bequeathed or donated to the Museums be accepted with any restrictive conditions. Donations are not accepted offhand, but must meet the stated objectives or be refused.

The City of Tshwane Metropolitan Municipality will protect the taxpayers’ rights by providing a professional, fair and impartial selection process. It is essential that the Museum Curators, specialising in the fields covered by the Policy and who are involved in the conservation, education and exhibitions should participate in the selection process, together with art cognoscenti from the Board of Trustees or Art Selection Committee. Their collective opinion can offer insights into the utilization of items in the collection.

Disposal of collections:

The Museums bind themselves to the relevant South African Laws as well as the Code of Museum Ethics adopted by ICOM and SAMA concerning the non-disposal of objects from the Museum collection.

EXHIBITIONS

The exhibition is the Museums’ most effective way of carrying out their task to facilitate the discovery of art and culture and to serve as educational resource. The exhibitions are the most visible manifestation of a museum’s mission statement. However the museums are prestigious venues and should not be treated as a general exhibition centre or be turned into a commercial entity as this will defy legislation and museum objectives and jeopardize the museum status.

Key Performance Area: (Educational and Information Services)

Exhibitions must reflect the cultural diversity of the country and promote visual literacy by means of educational programmes. The educational role of the museums is at the core of their service to the community. Exhibitions make the Museums more accessible by means of educational programmes and information and promote an understanding of the value of museums and heritage conservation. Exhibitions foster a general appreciation of culture and heritage and with involvement among the community will enrich their quality of life.

Exhibitions should enhance the public image of Tshwane as a cultural city and should be used positively to market the Museums, City of Tshwane and cultural tourism. Special small exhibitions or displays will celebrate National days in conjunction with other museums and Departments. Activities such as workshops for children,

walkabouts, lectures or guided tours are presented on International Museum Day in conjunction with other museums and Departments.

Exhibitions should promote the Museums as educational resource to be used by learners and educators. The training of the voluntary Education Assistants and Museum Guides are based on the permanent collection and exhibitions.

The Museum Curators will determine the exhibition programme up to three years in advance (subjected to change), taking into account the aims, Museum principles and the ICOM Code of Museum Ethics, schedules of national and international travelling exhibitions.

Exhibitions are accompanied by media releases which are cleared with Tshwane Marketing and Communication. As specialists the Museum Curators will each be responsible for their designated area of expertise and are mandated to compile the Exhibitions Programme. Exhibitions will be compiled from the permanent Museum holdings, thematically, chronologically or by medium or artist (retrospective or tribute).

Temporary exhibitions such as national or international travelling exhibitions, major national competition exhibitions will be considered by the Curators depending on the slots available in the programme. The exhibition programme will be made available to Management on a regular basis in reports.

For logistics of exhibitions see: . Exhibitions: Operational Plan . Exhibitions: Proposal document (organisations) . Exhibitions: Contract (loan agreement)

Standards and criteria:

All exhibitions held at the Museums must comply with accepted Museum standards as regards security, conservation and public safety. In accordance with International Museum Regulations and public and occupational safety regulations, objects may not be dangerous or potentially dangerous, nor shall they be of a nature that may cause injury or damage to persons or property.

All exhibitions must be related to the Museum’s mission statement and the exhibitions policy. Exhibitions should supplement the permanent collection. Academic, educational, technical and aesthetic standards of excellence should be maintained and are to be monitored by the museum curators.

Due to the nature and definition of Museums (see ICOM Code of Ethics) (this means not being commercial), the objects may not be for sale. Neither the Museum nor any of

the exhibition spaces are available for renting for exhibitions. In the event of controversy the Chief Curator reserves the right to make final judgements regarding the addition or omission of works intended for exhibition. Exhibitions from the permanent collection are selected by the Museum Chief Curator and Museum Curators.

Objects at the Museums are displayed in a controlled environment, i.e. temperature, humidity, lighting. No objects shall be hung on the walls or displayed by any other persons than the Museum staff or persons expressly appointed by the responsible Museum curator. No Prestic, nails, screws, staples or double-sided tape may be used to attach artworks or their labels to the walls. Only the Museums official system may be used to hang objects. Sculpture plinths should be sturdy and safe. The Museums reserve the right to make changes to loan exhibitions (e.g. height of objects, spacing between objects, etc) in order to ensure a professional appearance.

Travelling / Loan Exhibitions:

Travelling / Loan exhibitions should supplement the permanent collection and add value to the education programme and will be restricted to exhibitions of objects of national or international importance linked to the particular museum’s theme and objectives. Travelling / Loan exhibitions must be approved by the Chief Curator and Curators who will report to the Board of Trustees and are held with the understanding that such exhibitions will not necessarily become regular (e.g. annual) exhibitions / events to be hosted at the Museums.

Under no circumstances will unframed (e.g. loose canvas or loose artworks on paper) be accepted or considered for exhibition. The Museums reserve the right to refuse objects that are difficult to hang, install or handle.

An exhibit is the medium used by museums for presenting and interpreting objects to the public. Exhibits use some combination of objects, text, graphics, props, furniture or architectural elements to create a physical space dedicated to the exploration of specific themes and messages

Exhibits play an important role between linking the community and its heritage. The museum will strive for accuracy of information, relevance to the community, effective communication, opportunities for learning, and safe display of artefacts.

Exhibits

Exhibits must reflect the museum’s mandate, demonstrate its commitment to the highest possible standards of exhibition, and address the needs and interests of the community it serves.

Permanent Exhibits

Permanent exhibits form the core of the museum's exhibitions, and introduce the visiting public to the region’s cultural and natural heritage, outlining the local, regional, provincial, and national importance. Although the themes of these exhibits may remain constant, their content (i.e. information, stories, artefacts, and photographs) will be changed or updated regularly.

Temporary Exhibits

The museum will utilize temporary exhibits in order to provide visitors with varied learning opportunities and to provide an experience which will inspire people to return to the museum to see "something new." This will be accomplished by utilizing temporary exhibits produced by both other institutions and agencies and in-house staff and volunteers. Before accepting incoming material as part of a temporary exhibit, the museum will complete an Incoming Loan Agreement with the lender and Condition Report on each object within the exhibit. Loaned objects used in temporary exhibits will only remain in the museum for the duration of the exhibit after which they will be returned to the lender. See the Collections Management Policy for more detail.

The museum reserves the right to decline the use of any objects or materials offered for use in exhibits.

Developing Exhibits

In order to present effective exhibits that are relevant and accurate, the museum will ensure that exhibits are presented in an ethical and professional manner.

 Exhibits conform to the museum’s mandate and Collections Management Policy and will provide opportunities for learning and enjoyment.

 Staff and volunteers will follow the SAMA’s / ICOM’s Code of Ethics in the development and presentation of museum exhibits.

 Ongoing research will be undertaken in accordance with the museum’s Research Policy to give an accurate and fair evaluation of the exhibit topic or theme and its role in the history of the community.

 Resources are allocated in support of planning, preparation, and installation of exhibits.

 The museum will adhere to municipal, provincial, and national legislation requirements that impacts exhibit content (i.e. the SA Copyright Act and firearms legislation).

 All staff and volunteers involved in the planning, preparation, and installation of exhibits have the necessary skills and training to complete exhibits that meet the expectations of visitors and needs of the collection.

 Any commercial support or sponsorship of exhibits will not compromise the museum’s standards and objectives.

Learning Opportunities

The museum will ensure that exhibits effectively promote learning and enjoyment by using a variety of interpretation methods to meet the needs and interests of all visitors.

 New artefacts will be regularly rotated in and introduced to permanent exhibits.

 Schedules will be developed to effectively blend permanent and temporary exhibits.

 When possible, the museum will partner with schools and other organizations to align exhibitions with school curriculum, community events, commemorations, etc.

Interpretation

Exhibits will “provoke”, “relate”, and “reveal” their messages, and illustrate a common interpretive theme for each gallery and complement the museum as a whole. The museum will remain up-to-date on new interpretive techniques and principles, and will utilize these methods in conveying the exhibits’ messages to visitors.

 Text panels will have a professional appearance (i.e. be consistent in a size and font that can be easily read by all visitors) and will be installed in a position that can easily be seen without obscuring the view of artefacts. In general, labels will not be applied directly to artefacts.

Conservation

Staff and volunteers will respect the integrity of the artefacts to be exhibited, avoiding any situation which might put the artefacts at risk. This will be accomplished by providing staff and volunteers within the museum the proper care and handling of artefacts and ensuring these methods are put in practice.

 No artefacts will be displayed on a permanent basis. Artefacts on exhibit will be reviewed regularly to ensure they are in good condition. Any artefacts found in poor condition (i.e. exhibit fatigue) will be immediately removed from display, and appropriate museum personnel will be notified.

 Any artefact used in an exhibit must be in stable condition and be fully catalogued. A condition report will be completed whenever possible before placing an artefact on display.

 The museum will follow South African Conservation Institute guidelines for materials used in the construction of exhibits and mounts.

 Exhibition and storage areas will not be used for construction of exhibits. Any work or activities performed that may be harmful to artefacts will be carried out in an area that is isolated from exhibit and storage spaces. This can include activities that produce excessive amounts of heat, particulate, vibration, or contaminants.

 Conservation treatments on loaned material will follow guidelines established in the Collections Management Policy.

 Lighting and environmental conditions within the exhibit area will be controlled in accordance with current conservation standards as much as possible.

 Exhibit areas will be cleaned and inspected regularly by trained staff or volunteers.

Safety and Accessibility

The museum will ensure that all exhibits are kept safe for visitors, staff, and volunteers.

 The museum will adhere to municipal, provincial, and national legislation requirements that impact exhibits (i.e. safety codes and accessibility legislation).

 The museum will avoid using hazardous materials in exhibits.

 The museum will provide staff and volunteers training in proper handling and operation of artefacts (i.e. machinery) used in exhibits.

 The museum will strive to ensure exhibits can be enjoyed by visitors of all ages and abilities.

Evaluation

Each exhibit will have clearly defined objectives and will be evaluated against these objectives on a yearly basis to help ensure that visitors understand and relate to the exhibits. Exhibits that do not demonstrate continued success in communicating with visitors will be changed or upgraded to make them more engaging and visitor friendly.

THE PRETORIA ART MUSEUM POLICY FOR COLLECTION AND EXHIBITION

COLLECTION

Vision for collecting:

Acquiring and conserving a representative collection of South African art, reflecting the changing environment and the multi-cultural nature of our society.

Mission for collecting:

Establishing and conserving a representative, high quality permanent collection of South African art, past and present, reflecting all genres, art mediums, art movements, influences and leading figures, supplemented by traditional South African craftwork of artistic merit and international graphics to represent international influences.

What sets art museums apart from all other museums is that their collections consists of unique, original works which are valued for their own sake and which generally appreciate in value. The beauty of art is that it is multi-disciplinary and can be approached from many angles by people with different interests. This provides valuable opportunities for educational activities.

Collecting is not carried out for its own sake. Collection policies define the manner in which collections are built up, added or changed, reflecting the museum’s attitude. The collecting style will define the character and interpretation of the collection. The Museum collection must be based on ‘systematic’ collecting in which the collection is built up in a comprehensive way based on sound disciplinary approaches.

History of the collection:

The Pretoria Art Museum opened in May 1964, and is the city’s only fine arts museum. The collection of more than 4 000 works of art includes paintings, sculpture, graphics, textiles, photographic art, ceramics, and basketry and studio glass.

The Pretoria Art Museum came into being in the nineteen sixties in terms of Article 79(43) of the Local Government Ordinance, 1939 (Ordinance 17 of 1939).

Existing Collections:

. The Lady Michaelis bequest . International graphic art collection . Southern African art collection (including traditional beadwork, basketry, etc.) . “Classical” African art from West and Central Africa.

Active collecting:

Active collecting implies keeping abreast of art developments, new media movements and artists by means of books, journals and regularly visiting art exhibitions and other art museums. Due to the astronomical art prices and declining metropolitan budget, a broad policy is suggested – the best possible examples of all the major national art figures should first of all be acquired.

Criteria:

An art historical background for Art Museum Curators is essential because a coherent story of South African art must be constructed from the artworks in the collection. Objects acquired for the Pretoria Art Museum permanent collection should be relevant to the purpose and activities of the Museum and should enhance our cultural heritage.

Artists, like other creative practitioners, reach levels of proficiency which trained curators can recognise in the form and content of their works. Acquiring an artwork of the “highest quality” should be both exceptional and typical of an artist’s work and if the Museum can only afford to acquire one example of artist’s work, it must represent his/ her entire oeuvre. It should also best embody the qualities and characteristics of South African art.

National artists within South African art will be given priority. Representative examples of prominent, established artists who have made a significant contribution to the development of South African art will be sourced. Curators, as trained art historians and specialists in their field are also trained as objective, unbiased researchers, and will source and make recommendations. Attention will be paid to represent all art media and techniques such as, for example, photography, video art, studio glass, conceptual installations and other mixed media. A broad spectrum will be covered with in-depth collecting remaining and ideal.

Central to the collection should be art works that reflect significant moments in the development of Southern African art. The Pretoria Art Museum should, inter alia preserve moments of innovation or inspiration as well as examples of the artists who are proven worthy of remembrance. Accessions must be the best available at the time, fill a recognized deficiency or upgrade existing collections, and be adequately documented. Because the Museum periodically changes exhibits, no art work can be considered on/for permanent exhibit. Accessioned objects may be used for exhibition, study, research, loan or examination.

Selection:

If a selection panel is given adequate authority to acquire items for the Museum the process will be fast and efficient. The less authority a selection panel is given, the longer a process becomes. Purchasing art cannot go through a process of obtaining quotes.

The primary task of the selection panel, comprising experts in the visual arts who should have an art historical background, is to approve or reject proposed art acquisitions. Their recommendation is to be approved by the Board of Trustees or in the absence of a Board of Trustees, by the City of Tshwane Metropolitan Municipality Council, or delegated senior officials.

The selection panel will argue the aesthetic merit and value of the artworks to the collection and its appropriateness in artistic terms. It is a specialized task and requires people who are knowledgeable in the relevant field. Their decisions are based on professional artistic and art historical criteria. Their decisions should be ratified by the Council whose job it is not to police the taste or judgement of the selectors but to see that the approved policy is upheld.

EXHIBITIONS

The South African public and local audiences frequenting the Pretoria Art Museum have come to expect constant change and this is catered for by regular rehanging of the permanent collections and by presenting frequent temporary national and international art exhibitions. Due to the growing interest to have art exhibitions hosted at the Pretoria Art Museum, clear guidelines are needed in order to plan a balanced program.

Vision for art exhibitions:

Exhibiting a variety of artists and (art) media, supplemented by educational activities such as guided tours, making art accessible to schools, local communities, South African and foreign tourists.

Mission for art exhibitions:

To be a preferred and leading museum and exhibitions centre of international standard showcasing the best of South African art from the Pretoria Art Museum’s permanent collection, supplemented by temporary national and international travelling exhibitions.

Goals:

The Pretoria Art Museum aspires to the development and management in an innovative manner of all the art historical resources (Museum building and art collection) of the City of Tshwane Metropolitan Municipality (CTMM) to the benefit of the whole community and visitors. The present and future collections and exhibitions must reflect the art and cultural historical diversity of South Africa. The preservation and research of art objects are of primary importance.

THE MELROSE HOUSE MUSEUM POLICY FOR COLLECTION AND EXHIBITION

HISTORICAL CONTEXT:

Melrose House is a Late-Victorian house museum which reflects the lifestyle of a wealthy, upper-middle class family at the turn of the nineteenth century in the then Pretoria. The main part of the collection thus consists of items related to such a household.

As a further contribution to the community, objects reflecting a wider view on the period are also collected. Due to constraints of resources and not to overlap with collection policies of other museums in the region, the acquisitions policy is restricted to a certain period, reflecting the most important part in the history of Melrose House, as well as the culture of the original owner, George Heys.

COLLECTION

Collection goals:

The type of collection is determined foremost by the historical building housing the collection, in this case Melrose House. This places the collection period in the time frame of the late-Victorian and Edwardian period, 1870 to 1900, in certain cases overflowing to c.1920. Objects relating to the lifestyle of the original owner, George Heys, form the core of the collection. In an attempt to place the house and contents in a wider context of the relevant period, it is essential to collect suitable items from the same period over a wider field. In this case the collection policy is extended to the collection of items in the Arts and Crafts and Art Nouveau Style, enabling staff to contrast artistic and aesthetic taste of the relevant period to the general taste accepted by the wider public of the same period.

The geographical confines of the origin of objects in the collection will mainly be Britain and in certain cases Europe or America, as most objects found in this type of colonial houses were imported from these countries. A South African connection would most often lie in the fact that these objects were imported to use locally and in some cases used by the Heys family. This aspect is critical if the objective is to maintain the historical character of Melrose House.

Items with a direct connection to the Heys family will also be an important consideration in the collection process. The core of the collection displayed on a permanent basis in Melrose House did in fact belong to the Heys family.

Criteria for acquiring objects:

Items considered for the collection should meet the following criteria:

The main criteria for any addition to the collection are the importance of the object to the interpretation of the historic house museum. This implies that aspects such as rarity, perfect condition, monetary value, etc. are subject to the special needs of the house museum.

Museum quality has a different meaning for a house museum, and will imply that in certain instances, though always with good motivation, objects of lesser value or objects in less than mint condition will be added to the collection to illustrate certain aspects of the lifestyle in Melrose House.

The physical condition of objects acquired for Melrose House should be such that the object can be exhibited. Object with slight damages or minor repairs can be included in the collection should they be important to the whole of the collection and exhibition policy of Melrose House. In cases of minor damage, it is advisable to determine if the object can be restored within reasonable time and means.

It should be determined beyond reasonable doubt that items acquired for the collections are original, not reproductions, assembled from different pieces or made from old material. Knowledge of materials, manufacturing techniques and the like is thus indispensable in the decision-making process. Donations should only be accepted if it complies with the abovementioned criteria.

Duplications of the existing collection should not be accepted, unless it is important in the interpretation of the social historical context of Melrose House, or when a clear arrangement can be made with the donor that the item will be used in the educational collection, which is a separate, hands-on collection used for educational programmes.

Procedures for acquiring of objects:

The professional staff of Melrose House is responsible for following up leads of possible acquisitions to the museum collection from different sources. This includes regular contact with antique dealers, reputable auction houses as well as investigating information in this regard from the public. A preliminary evaluation should be made by the professional staff which should be submitted to the Museums’ Advisory Committee for final acceptance. Documentation forms an integral part of the acquisition process. Further research on the newly acquired object should be done on arrival of the object at Melrose House which forms part of the documentation process.

LOANS:

No long-term loans to Melrose House should be accepted under any circumstances. No loans from the collection of Melrose House should be allowed to any individual or institution, including for the purposes of exhibition or research elsewhere. The responsibility for the care and conservation of the collection lies with the professional staff of Melrose House Museum and this commitment cannot be honoured if objects are to be removed from the museum premises.

ACTIVE COLLECTING:

A policy of active collecting is advised which requires a systematic approach with an annually updated list of required objects to fill specific shortcomings in the collection of Melrose House. The inclusion of suggestions on this list should be determined by professional research and should be in line with the acquisition policy as described above. Passive collecting, such as relying on suggested donations only should be discouraged as this will have a negative effect on the growth direction of the collection.

EXHIBITIONS

The core of the collection displayed on a permanent basis in Melrose House did in fact belong to the Heys family and the objective of the main and permanent exhibitions are to maintain the historical character of Melrose House.

However, the Exhibition Room consist of temporary exhibitions that has to keep to an arts and culture theme e.g. The Victorian era, Anglo Boer War, the Twenties to the Sixties, Social Customs, Textiles, Pottery, Fashion through the ages, Cartoons, Arts and Crafts, Art Nouveau, etc. Being sensitive to, and keeping the nature and purpose of Melrose House Museum in mind.

THE FORT KLAPPERKOP HERITAGE SITE POLICY FOR COLLECTION AND EXHIBITION

COLLECTION

Historical context:

Shortly before the Anglo Boer War (1899 to 1902) the government of the South African Republic - Zuid-Afrikaansche Republiek (ZAR) as the former Boer republic in Transvaal was called - decided to fortify Pretoria in order to protect the capital. A defence plan was drawn up by two German engineers, Otto Albert Adolph van Dewitz and Heinrich C. Werner to build forts. Four forts were completed: Klapperkop, Schanskop, Daspoortrand and Wonderboompoort.

Fort Klapperkop was the third fort erected at a cost of £50 000 and was completed on 18 January 1898. On 4 June 1900 fighting broke out all around Pretoria. On 5 June the unconditional surrender of Pretoria followed, and the British forces occupied the capital and the forts were occupied by British soldiers.

In 1922 Fort Klapperkop was transferred to the South African Defence Force and declared a national monument on 8 July 1938. During the Second World War (1939- 1945) it was used as an ammunition store. During 1962 a decision was taken to restore Fort Klapperkop and to arrange it as a military museum and was opened on 23 May 1966. In 1994 the Fort was taken over by the City Council of Pretoria and is managed by the Culture subdivision of the City of Tshwane. It has been restored historically correct and arranged as a museum.

VISION:

To be a leading heritage site for the holistic presentation of the diverse and unique historical development and heritage timeline of South Africa

MISSION:

To present the Fort Klapperkop Heritage Site as close as possible to being historically correct to its visitors.

This means presenting the fort as a military fortification of the Anglo Boer War (1899- 1902). This is in accordance with international charters on the conservation of historical buildings and sites. The most important of these that were used in compiling this document is The Australian ICOMOS Charter for places of cultural significance (The Burra Charter) of November 1999, The Venice Charter of January 1996 and The Conservation Plan of JS Kerr of August 1985.

Collection and Exhibition Ethics:

The relationship between the Museum and the community is of the utmost importance, the sentiment of the community should be taken into consideration. The museum should however always be honest in its presentation of history. Shortcomings should also be openly made known to the visitors.

The Fort dates back to the era just before the start of the Anglo-Boer War, and was specifically built for operational use during the War that took place between 1899 and 1902. The Fort was built as part of the military build-up in the South African Republic (ZAR) since 1896; artefacts from this era (1896-1899) will be collected as it might have been used in the fort.

Articles of every day use from an earlier period which might also have been used in the fort might also be collected. In this case the artefacts should be connected to one of the rooms of the Fort. Although the Boer Government had the Fort built, it was occupied by the British military authority during the War. Therefore artefacts from both these groups might be collected.

Only artefacts that will have a use as exhibition material or for educational programmes will be collected. This means that the museum should not have a large collection to curate apart from that in the exhibition area and that used for educational purposes.

The museum should actively collect and identify shortcomings in its collection and go out to find the necessary artefacts to overcome the shortcomings. Should the museum be offered artefacts, it should only be accepted if it falls within the parameters of this policy.

LOANS:

The museum might enter into loan agreements with other museums in order to obtain artefacts for exhibition purposes. These will be in line with this policy and such artefacts will be handled exactly as if it were the property of the museum, giving it the same curatorial care. Since the museum has an excess of certain artefacts these might be given on loan to other museums. In both cases a loan agreement will be entered into.

EXHIBITIONS

Each room of the Fort should, where possible, be used for displays indicating the same use than it originally was intended for. Because of different factors this will be one of the following methods: a) a representation / portrayal of how the room might have been furnished b) display cases with periodically correct artefacts c) panels with text or d) a combination of the above.

Ammunition room:

Since research could not give any indication of how this room was furnished, the exhibition should be option b and / or c. Since information is available on the specific armament of the fort during the Anglo Boer War, this should be included.

Hospital:

Although no information on how this room was furnished could be found, there are ample information on typical hospitals of that time. Therefore the display should be that of option a. Should panels with text be allowed it should focus on medical aspects during the Anglo Boer War.

Telegraph room:

The display in this room should focus on the telecommunication systems that was available during the Anglo Boer War and that was used in the Fort. Although much is known about this, nothing is known about the furnishing of the room. The room would probably have had an office look. Since the information on the telecommunication systems of the fort is an important part of its history, this should not be neglected. Therefore option d is the choice of display.

Machine room:

Research has indicated that the power generator in this room is original and it should be part of the display in this room. However, little is known about other machines that were used in this room. In order to explain the generating of electrical power in the Fort option d would be appropriate. In order to fill the room it can be used for temporary exhibits such as the uniforms worn by the soldiers during the War.

Kitchen:

No information is available on the furnishing of the kitchen at the Fort, but there is ample information on kitchens from that period in history. Therefore the room should be furnished accordingly.

Sleeping quarters of the garrison:

Since the museum needs a room to use for giving lectures to visitors and this room which is the largest in the Fort, would serve this purpose the best, it will not be used for exhibition purposes. Panels with information on the War and the history of the building of the fort may however be placed here in order to contextualise the museum.

Store room:

This room should be used for temporary displays that can be changed from time to time. Preference should be given to aspects connected to the Anglo Boer War, such as

artefacts made by Boer Prisoners of War, archaeological artefacts excavated at Anglo Boer War sites or memorabilia from the War. This means option b and / or c is chosen.

Officer’s room:

The museum needs an office and this room, which historically was used by the Officer in command at the fort as office and sleeping quarters, will be used for this purpose.

Stable:

Although there is no information available on the furnishing of the stable, there exists information on stables of that period. Live horses from the stable complex at the fort can also be placed in the stable from time to time to enhance the experience for visitors. Display panels with text may also be placed in this room and should convey information on the role of the horse during the Anglo Boer War.

Water reservoir:

During the rain season water still filters into the reservoir. Therefore it can not be used for exhibition purposes. The room might however be provided with electrical light so that visitors can view it. The water pump at the reservoir is not original.

Miscellaneous:

Original canons, as well as replicas thereof, that were used during the Anglo Boer War, will be placed on the roof of the Fort looking into a southerly direction, since the Fort had to defend in that direction. Should more of these be acquisitioned it could be placed in the storage areas on top of the roof that were built for this purpose. Other machinery that might have been used during that period in the Fort can also be exhibited. For instance, there is a delousing machine in the collection. This was used to clean the uniforms of the soldiers and can be placed in the court yard of the Fort.

Signs with information on certain aspects of the building as well as outside exhibitions can be placed where it would not harm the structure or disturb the historical ambiance of the Fort. Other site features, such as the original toilet of the fort, the SADF Memorial, a train used to carry British troops during the War and the remains of a block house that was built by the British after they occupied the Fort, should be interpreted by means of signs.

THE CENTURION ART GALLERY POLICY FOR EXHIBITING

The Centurion Art Gallery aims to:

 show a variety of art forms, reflecting the cultural diversity of South Africa;  promote visual literacy, making the visual arts accessible to everyone; and  exhibit emerging talent, promoting Tshwane artists in particular.

EXHIBITIONS

The Centurion Art Gallery can be rented by artists on a one month or two month basis on a fee as stated in the tariff report. The artist is responsible for sales in consultation with the custodian of the Gallery. A 22% commission on sales is payable to the City of Tshwane at the close of the exhibition. Special workshops have to be booked with the Gallery in advance because overtime for the custodian has to be arranged.

The booking of the Gallery will only be confirmed after payment of the rental fee, the required insurance documentation has been received and approval of the exhibition proposal.

Gallery hours are Mondays to Saturday from 10:00 to 17:00. The Gallery is closed on Sundays and public holidays.

RESPONSIBILITIES OF THE EXHIBITOR:

GENERAL ARRANGEMENTS:

 Hand in the completed exhibition proposal to the custodian of the Centurion Gallery at least three months in advance.  Provide the Gallery, via the custodian of the Gallery, with a press release and photographs at least six weeks in advance.  Provide the Gallery with an electronic copy of the invitation at least three weeks before the opening date. The Gallery must approve the proofs in advance  Organise the opening event in consultation with the Gallery: Tables, tablecloths and wine glasses are available at the Gallery but their use has to be arranged in advance. Tablecloths are to be returned to the Gallery, washed and ironed, within 5 days after the opening event. If the Gallery's staff are needed to wash the wine glasses after the opening event, an additional payment is payable. Broken glasses must be replaced within five days after the opening event. Alcoholic beverages may be served but may not be sold at events on the Gallery premises. The organiser is responsible for preventing anyone under the legal age of 18 from consuming alcoholic beverages on the premises.  Please leave the Gallery in a good condition after the exhibition.  The organiser of the exhibition has to arrange for the all-risks insurance on the exhibition themselves.

 Each artist is responsible for his or her sales and must consult with the custodian on this. A 22% commission on sales is payable to the City of Tshwane after the close of the exhibition. Payment in cash or bank guaranteed cheque only – Cheque payments to ‘City of Tshwane’.

MOUNTING THE EXHIBITION:

 Artworks must be framed and ready to hang.  Only the Gallery's approved rod system can be used. Extra screens can be provided. Sculptures can be supplied with their own safe and sturdy plinths.  No nails, screws, staples or double-sided tape may be used on the walls.  Artists must provide all the technical equipment and materials needed for the exhibition and installations.  Each artwork must have a label with the artist's name, and the title, medium and price of the artwork. The labels and a catalogue must be made available to the Gallery for checking.  Keep in mind that for large group exhibitions a selection process will be necessary.  Lighting can be adjusted for the exhibition.  The exhibition must be mounted in Gallery hours. Gallery staff will not be available on Sundays, after hours or on public holidays to assist with exhibitions. Under no circumstances will the artists be allowed in the Gallery unsupervised.  The Gallery reserves the right to make improvements to the exhibition to achieve a professional appearance. • The Gallery staff will gladly give advice on the hanging of the artworks.

INVITATIONS:

 The wording must be checked by the Gallery at least four weeks in advance.  The official logo of the City of Tshwane must appear on the invitation.  An electronic copy of the invitation must be supplied to the Gallery.  Printed invitations may be posted to the artist's own guests.

INSURANCE:

Exhibitor to Insure:

1. The Exhibitor must obtain for the duration of the exhibition, the following insurance policies in the name of the Exhibitor at an insurance company within 14 (fourteen) days of the notification of acceptance of the exhibition and must pay all premiums and supply proof thereof to the relevant Project Manager 30 (thirty) days before the inception of the exhibition, that the policies have been taken out and that all premiums have been paid:

i. All Risk Insurance cover with regard to all Plant and Materials and Equipment owned, leased or hired by the Exhibitor that are used in the execution of the exhibition for the full replacement value thereof.

ii. Motor Vehicle and Passenger Liability Insurance cover indicating the registration numbers of the vehicles owned, leased or hired by the Exhibitor that are used in the execution of the exhibition to the amount of at least R10-million per claim with the number of claims unlimited.

iii. SASRIA cover for motor vehicles and Plant and Materials and Equipment owned, leased or hired by the Exhibitor that are used in the execution of the exhibition for the full replacement value thereof.

iv. In respect of Plant and Materials and Equipment and Motor Vehicles brought onto the Site by or on behalf of Sub exhibitors, the Exhibitor shall be deemed to have complied with the provisions of this Sub-Clause by ensuring that such Sub exhibitors have similarly insured such Plant and Materials and Equipment and Motor Vehicles.

v. The Exhibitor will effect and maintain for the duration of the exhibition insurance against all accidents or misfortunes including accidental loss of or damage to tangible property and liability for accidental death of or bodily injury to or illness or disease contracted by any person (not an employee of the CoT) occurring during the Period of Insurance and arising out of or in connection with the performance of the Exhibitor at the Site at any insurance company within 30 (thirty) days before the occupancy of the premise. The minimum limit of indemnity for any one event is R5-million and the number of claims will be unlimited.

2. Insurance Premium payable:

The Exhibitor will be liable for the obtaining of the insurance cover as set out in 1.1 at his own cost.

2.1 The Project Manager involved must furnish the required insurance documentation as set out in 1.1, within 30 (thirty) days before the inception of the contract, to the Section: Insurance and Risk Management.

2.2 Should the insurance documentation not be received by the Section: Insurance and Risk Management within the stated time frame as set out in 1.3 above, all cost related to an insurance claim will be for the account of the department.

RESPONSIBILITIES OF THE GALLERY:

 Invitations will be sent by email to those on the Gallery’s distribution list.  Press releases will be sent to the media.

 The Gallery staff will assist with the mounting of the exhibition.  The Gallery staff will assist with the opening event.

PUBLIC PARTICIPATION ON THE REVIEW OF LIABRARY INFORMATION SERVICES AND ARTS,CULTURE AND HERITAGE RESOURCES BY-LAWS,DRAFT USER POLICY FOT SPORT AND RECREATIONAL SERVICES FACILITIES AND DRAFT FUNDING POLICY FOR SPORT, RECREATION, ARTS AND CULTURE. ALL REGIONS

DATE : SATURDAY, 09 MAY 2015 TIME : 09H00-14H00 VENUE : KT MOTUBATSE HALL

Programme Director : Cllr O Mathafa

Time Items Presenters 09h00-09h15 Welcome and Introduction Cllr N Maseko 09h15-09h30 Purpose of the meeting Cllr N Maseko 09h30-10h00 Presentation: Draft By-Law and Ms Tsholofelo Papo Policy for Sport and Recreational services facilities 10h00-10h30 Presentation: Culture and Heritage Mr Ishmael Mbhokodo resources By-Law 10h30-11h00 Presentation :Library information Mr Johannes Magoro services By-Law 11h00-11h30 Presentation: Draft funding policy Ms Ntuthu Sipambo for Sport, Recreation, Arts and Culture 11h30-13h30 Discussions All 13h30-14h00 Closing Remarks Cllr N Maseko

Annexure D

Navrae/Enquiries: Leah Legoabe (012 358 6908)

Datum/Date: 11 May 2015

MINUTES of

PUBLIC CONSULTATION ON DRAFT BY-LAWS: LIBRARY AND INFORMATION SERVICES; MUSEUMS, GALLERIES AND HERITAGE SITES; ARTS, CULTURE, HERITAGE RESOURCES AND CULTURAL INSTITUTIONS; SPORT AND RECREATIONAL SERVICES FACILITIES; AND FUNDING POLICY FOR SPORT AND RECREATIONAL SERVICES.

Held at KT MOTUBATSE HALL on SATURDAY, 09 MAY 2015 at 10:00 when the matters as set out in the Minutes hereafter were considered.

MINUTES OF PUBLIC CONSULTATION ON DRAFT BY-LAWS: LIBRARY AND INFORMATION SERVICES; MUSEUMS, GALLERIES AND HERITAGE SITES; ARTS, CULTURE, HERITAGE RESOURCES AND CULTURAL INSTITUTIONS; SPORT AND RECREATIONAL SERVICES FACILITIES; AND FUNDING POLICY FOR SPORT AND RECREATIONAL SERVICES, SATURDAY, 9 MAY 2015.

ATTENDANCE REGISTER

See Attendance Registers attached as ANNEXURE A

INDEX PAGE

1. OPENING, WELCOME AND PURPOSE OF MEETING 3

2. PRESENTATIONS ON SRAC DRAFT BY-LAWS 4 – 5

2.1. Draft By-Law: Sport and Recreational Services Facilities

2.2. Draft By-Law: Sport and Recreational Services Funding

2.3. Draft By-Law: Library and Information Services

2.4. Draft By-Law: Arts, Culture, Heritage Resources and Cultural Institutions and Draft Policy on Museums, Galleries and Heritage Sites.

3. DISCUSSION: QUESTION AND ANSWERS 5 – 8

4. VOTE OF THANKS 8

5. CONCLUSION 8

1. OPENING, WELCOME AND PURPOSE OF THE MEETING

The Program Director, Councillor N Maseko requested that the meeting be opened in prayer and thereafter officially declared the meeting opened. She thereafter extended a warm welcome to all Councillors, Officials and Stakeholders and members of the public present.

She explained the purpose of the meeting as follows:

 That the meeting is in line with the City’s constitutional obligation of fostering public participation and consultation according to the its mandate.

 That the Constitution of the Republic of South Africa as the supreme law of the country, mandates the municipality to among others:

o provide democratic and accountable government for local communities. o ensure the provision of services to communities in a sustainable manner. o promote social and economic development. o encourage the involvement of communities and community organisations in the matters of local government.

 That public consultation is in line with the government's programme to provide communities with an opportunity to participate in the City’s programmes.

 That the main objective of this consultation process is to solicit inputs and comments on draft/proposed policies and by-laws.  That the following draft policies relating to sports, recreation, arts and culture will be reviewed and re-aligned:

o Draft By-Law: Sport and Recreational Services Facilities;

o Draft By-Law: Sport and Recreational Services Funding;

o Draft By-Law: Library and Information Services;

o Draft By-Law: Arts, Culture, Heritage Resources and Cultural Institutions and Draft Policy on Museums, Galleries and Heritage Sites.

 That the Department of Sport and Recreational Services strives to provide a platform that meets the national and international standards which contribute to the socio economic growth of the Regions and the country in general.

 That therefore full participation from all quarters of the City is encouraged by allowing each and every community member present a platform to bring about their views relating to sports, recreation, arts and culture.

2. PRESENTATIONS ON DRAFT B Y-LAWS FOR SPORTS, RECREATION, ARTS AND CULTURE

2.1. Draft By-Law: Sport and Recreational Services Facilities

Ms T Papo made a representation on the Draft By-Law: Sport and Recreational Services Facilities and indicated the following issues to the attendees:

 That the draft by-law deals with how the CoT will be interfacing with the users of Sport and Recreational Facilities;  That although there is a shortage of Sport and Recreational Facilities the greening program is underway within all Regions and that all informal sport grounds are going to be scrapped.  That there are booking processes for all types of facilities, tariffs payable, operating times, who can make such bookings, which categories of users qualify for free usage of such facilities, equipment, advertising signs, what type of conduct should users comply with, sanctions/penalties to non- compliance.

All attendees were furnished with the presentation.

(See attached reference to ANNEXURE B.)

2.2. Draft By-Law: Sport and Recreational Services Funding

Ms T Papo made a representation on the Draft By-Law: Sport and Recreational Services Funding and indicated the following issues to the attendees:

 The funding criteria for development programmes.  Categories of funding including focus areas.  Objectives for granting such funding.  The application process to access funding.

All attendees were furnished with the presentation.

(See attached reference to ANNEXURE C.)

2.3. Draft By-Law: Library and Information Services

Mr J Magoro made a representation on the Draft By-Law: Sport and Recreational Services Funding and indicated the following issues to the attendees:

 Admission to library buildings.  How does one obtain membership. 4

 Borrowing/loaning of materials.  Returning of library materials.  How overdue library materials are handled.  How members can reserve library materials.  What happens when a library material is lost or damaged.  The hiring and using of the library space.  Programs and events conducted by the Library and Information Services.  Library operating hours.  The conduct expected from library users and penalties for non-compliance.

All attendees were furnished with the presentation.

(See attached reference to ANNEXURE D.)

2.4. Draft By-Law: Arts, Culture, Heritage Resources and Cultural Institutions and Draft Policy on Museums, Galleries and Heritage Sites.

Mr IM Mbhokodo made a representation on the Draft By-Law: Arts, Culture, Heritage Resources and Cultural Institutions and the Draft Policy on Museums, Galleries and Heritage Sites. He indicated the following issues to the attendees:

 That the CoT’s Policy on Museums, Galleries and Heritage Sites is according to International Council of Museums and South African Museums Association guidance to ensure professional museum standards.  That there is a Code of Ethics which is in line with the National Heritage Resources Act, 1999 to which the CoT is bound to comply with.  That the Art Selection Committee is responsible for acquiring and approving which art can be selected for the Pretoria Art Museum.  The Collection Development which governs the conduct of curators.  The draft by-law aims to manage the cultural and natural heritage resources so that communities can conserve their legacy and be bequeathed to future generations.  The different categories of heritage resources according to their grades.  The regulation of cultural institutions for all community members.  The importance of preserving and protecting local heritage resources by the CoT.

All attendees were furnished with the presentation.

(See attached reference to ANNEXURE E.)

The table below captures questions, comments and inputs received from attendees and responses provided by the Department: Sport Recreation, Art and Culture Officials.

3. DISCUSSIONS: QUESTIONS AND ANSWERS

Questions and Comments/Inputs Responses

1. A request was made that tournaments  It was mentioned that the request will be arranged within all main sporting be attended to through the programs. disciplines be arranged.

2. The leasing of Sports Facilities by  It was mentioned that the matter will different people within CoT needs be considered. urgent attention as the facilities are usually left by the users in a not usable state. 3. A concern was raised that the empty  It was mentioned that there were promises by COT officials from Sports strides taken to ensure that all Department be taken forward. organized stakeholders are involved in programs and events which are in the pipeline. 4. It was proposed that the Glossary  It was mentioned that the proposal must include the names of was noted. stakeholders including the Sporting Council

5. A concern was raised that there is a  It was indicated that the concern was huge difference of development and noted. maintenance between sporting facilities in townships and those on in town and request that the matter be attended. 6. A comment was raised that insurance  It was mentioned that the comment is required to cover people who are was noted. partaking in sport activities in the facilities.

7. A concern was raised that there are  It was mentioned that the concern will no tennis courts in Temba in be attended to. Hammanskraal and generally no sporting facilities in Region 2.

8. A concern was raised that there are  It was mentioned that the concern will no sporting facilities in Cullinan in be attended to. Region 5.

9. A concern was raised that the tariffs  It was mentioned that the comment for hiring recreational facilities are was noted, however the tariffs were very high and the Department must properly determined and an increase consider the affordability of each user. thereof is annual.

10. A concern was raised that most  It was mentioned that the comment sporting facilities are booked by was noted and will be attended to. sporting federation for the whole year which makes other potential users of different sporting codes be unable to access and use the facilities equally. 11. It was requested that the Sporting  It was mentioned that the request was Council be a recognised stakeholder noted. in the policy and draft by-laws of SRAC which includes the maintenance plan of sporting facilities. 12. It was mentioned that the Sporting  It was mentioned that the comment Council will send its comments in was noted and that the written writing to the Department and in comments and inputs will be particular Clause 2.2.1 must include considered. CBOs and NGOs. 13. It was mentioned that the Tshwane  It was mentioned that the request was Tswaiing Crators must be included as noted. a local Heritage and Cultural Site to ensure that tourists get to visit it.

14. It was commented that people with  It was mentioned that the comment disability, the elderly and the youth was noted and will be attended to. must be included in organised local events.

15. A request was made for the furnishing  It was mentioned that the request was of Tennis and Basket Ball wheelchairs noted. for people with disability who take part in sports is needed.

16. A comment was raised regarding the  It was mentioned that the comment selling of liquor bottles that the bottle was noted and will be attended to. containers must be substituted with cans inside stadiums as the users of the facilities after such events experience serious injury which impacts on their sporting careers. 17. A request was made that the  It was mentioned that the request will Department assist sporting teams with be attended to. financial support to nurture local talent.

18. A comment was raised regarding the  It was mentioned that the comment hiring of facility managers who are was noted. residing nearer the facility by the CoT.

19. A concern was raised regarding the  It was mentioned that the concern was proximity of sporting facilities to noted and will be attended to. residents as they have to travel long distances to access them.

20. A concern was raised regarding the  It was mentioned that the concern was level of security at sport and noted and will be attended to. recreational facilities as they are being subjected to vandalism.

21. A concern was raised that there were  It was mentioned that the concern was no museums and art galleries in noted and will be attended to. townships, no exhibitions of products/objects were done.

22. A concern was raised that some  It was mentioned that the concern was sporting facilities do not have an noted and will be attended to. access ramp for disabled people on wheelchairs.

4. VOTE OF THANKS

Councillor Musehane thanked all Attendees, Presenters and the Programme Director and for their attendance and participation.

The community was requested to submit any further comments/inputs in writing to the following number: (012) 358 8838/8632 or send email to [email protected] or [email protected] on or before 22 June 2015.

5. CONCLUSION

The Program Director, Councillor N Maseko requested that Mr close the meeting in prayer and concluded the meeting at 14:00.