South African Festivals in the United States: an Expression of Policies
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South African Festivals in the United States: An Expression of Policies, Power and Networks DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Akhona Ndzuta, MA Graduate Program in Arts Administration, Education and Policy The Ohio State University 2019 Dissertation Committee: Karen E. Hutzel, Ph.D. Wayne P. Lawson, Ph.D. Margaret J. Wyszomirski, Ph.D., Advisor Copyright by Akhona Ndzuta 2019 Abstract This research is a qualitative case study of two festivals that showcased South African music in the USA: the South African Arts Festival which took place in downtown Los Angeles in 2013, and the Ubuntu Festival which was staged at Carnegie Hall in New York in 2014. At both festivals, South African government entities such as the Department of Arts and Culture (DAC), as well as the Department of International Relations and Cooperation (DIRCO) were involved. Due to the cultural, economic and other mandates of these departments, broader South African government policy interests were inadvertently represented on foreign soil. The other implication is that since South African culture was central to these events, it was also key to promoting these acultural policy interests. What this research sets out to do is to explore how these festivals promote the interests of South African musicians while furthering South African government interests, and how policy was an enabler of such an execution. ii Acknowledgements I would like to thank the Oppenheimer Memorial Trust and the National Arts Council of South Africa for their generous funding in the first two years of my studies. I am also grateful to the many South African mine laborers and creative workers whose hard work and sacrifice has made such benefits possible. I am indebted to the AAEP Department at OSU for making this entire experience possible and for the great teaching opportunities. I’ve been lucky to have such an amazing committee. Thank you infinitely to Professors Karen Hutzel (co-chair), Wayne Lawson, Sonia Manjon and Margaret Wyszomirski (co-chair), for their scholarship, guidance, empathy and patience. Prof Wyszomirski you’re a superhero! To the institutions that participated in this study such as the South African Departments of Arts and Culture, the South African Department of International Relations and Cooperation, Grand Performances and the Carnegie Hall Corporation, thank you for the permission to grant interviews. I must also thank the organizations whose representatives acknowledged my communication, even when they could not participate in interviews. To the individuals who signed up to participate anonymously: thank you. I truly appreciate the contribution of individuals who participated in the study like Mr Michael Alexander, Mr Charles Baranowski, Mr Jeremy Geffen, Mr Mitch Goldstein, Ms Jennifer Hempel, Mr Moeniel Jacobs, former Deputy Consul General Mr Johan Klopper, Mrs Lindiwe Ndebele-Koka, Mr David Kramer, Mr Glenn Masokoane, Mr Phillip Miller, Mr John Mogashoa, Consulate General George Monyemangene, Ms Roshnie Moonsammy, Mr Kesivan Naidoo, Mr Dizu Plaatjies, Dr Sipho Sithole, Mrs Velile Sithole, Ms Nombuso Tshabalala, former DAC Director General Sibusiso Xaba. Thank you for your acknowledgement, time, insights, responding to my barrage of emails, calls and requests. Knowledge production is nothing without people like you who see the value of research in driving society’s progress. iii To the Art Administration, Education and Policy Department (AAEP) community of students and friends who made this PhD experience rewarding, revelatory and transformative. This includes Professors/Doctors Joni Acuff, Christine Ballangee-Morris, Clayton Funk, James Sanders, Sydney Walker, Deborah Smith-Shank, Candace Stout, Shari Savage and Shoshanah Goldberg-Miller. To Kirsten Thomas and Lauren Pace, thank you for the super orientation. Being part of the transdisciplinary Barnett Center Think Tank was a perspective- altering research opportunity which influenced this work. So glad I collaborated with and learnt so much from Chloe Greene, TC Thomason, Charlie Calhoun, Jacinda Walker and Dr Manjon. Thanks to Kathleen and Dennis Goodyear, Ah Ran Koo and Yifan Xu for the good times in Columbus and letting sanity prevail during the dazzling moments. To Thembela Vokwana, Prof Sylvia Bruinders and Prof Cynthia Kros, who encouraged me to pursue graduate studies at OSU, you rock! AAEP introduced me to South African scholars in my discipline. I am grateful to Prof. Mzo Sirayi and Dr L.L. Nawa for the intellectual engagement. To Tshakane Masemola for being a connector: Pula! To Dipolelo Seemela for taking risks with me over the years! Thanks so much to the Jeffery family for their support over the years. To Chris and Jean, for constantly enriching my life. This is for Nomathamsanqa Maxam and Refiloe Ndzuta, with love, admiration and gratitude. iv Vita 2000 ...................................... National Diploma (Human Resources Management) Wits Technikon (now the University of Johannesburg) 2005 ...................................... Performer’s Diploma in Music (Jazz Performance) University of Cape Town 2007 ...................................... BMus (Hons) Musicology University of Cape Town 2009-2013 ............................. Business owner of JazzinJozi 2011-2013 ............................. Junior Lecturer Department of Art History, Visual Arts and Musicology, University of South Africa 2013 ..................................... MA (Arts and Culture Management) University of the Witwatersrand 2013- 2017 ............................ Graduate Teaching Assistant Department of Arts Administration, Education and Policy, The Ohio State University 2016-2018 ............................. Curriculum Development Consultant Tshwane University of Technology 2018 ...................................... Barnett Fellow, Fall 2018 Fields of Study Major Field: Arts Administration, Education and Policy v Glossary of Terms (Abbreviations and Acronyms) AMA American Music Abroad ANC African National Congress ASGISA Accelerated and Shared Growth-South Africa BET Black Entertainment Television CCI’s Cultural and Creative Industries CCNY Carnegie Corporation of New York CHC Carnegie Hall Corporation CIGS Creative Industries Growth Strategy CSA Creative South Africa: A Strategy for Realising the Potential of the Cultural Industries DAC Department of Arts and Culture DCA New York City Department of Cultural Affairs DIRCO Department of International Relations and Cooperation GEAR Growth, Employment, and Redistribution strategy LA Los Angeles MGE Mzansi Golden Economy NDP National Development Plan (Vision 2030) NY New York NYC New York City RDP Reconstruction and Development Plan SA South Africa SAAF SAAF--- South African Arts Festival USA/US United States of America USDS US Department of State WPACH White Paper on Arts, Culture and Heritage DTI Department of Trade and Industry SABC South African Broadcasting Corporation SXSW South by Southwest State The government of a country vi Table of Contents Abstract ...................................................................................................................................... ii Acknowledgements .................................................................................................................. iii Vita ............................................................................................................................................ v Glossary of Terms (Abbreviations and Acronyms) .................................................................. vi List of Tables ............................................................................................................................. x List of Figures ........................................................................................................................... xi Chapter 1 – Introduction ............................................................................................................ 1 Introduction to the Study ....................................................................................................... 1 Background to the Study ........................................................................................................ 2 Focus of the Study ................................................................................................................. 6 Introduction to the Festivals .................................................................................................. 7 Research Question ............................................................................................................... 15 Rationale .............................................................................................................................. 18 Scope and Limitations of Study ........................................................................................... 22 Research Strategy ................................................................................................................ 22 Chapter Outline .................................................................................................................... 24 Chapter 2 – Literature Review ................................................................................................ 26 Introduction .......................................................................................................................... 26 Festivals