DOCSLIB.ORG

Educational Television Programmes in South Africa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Educational Television Programmes in South Africa PROGRAMME 18/2005 E 41 Firdoze Bulbulia Educational television programmes in South Africa In the young democracy of South cific group areas. Integration was al- government has the added challenge Africa television is of special impor- lowed on a quota system at mainly of creating awareness and educational tance as an educational, enter- private schools and later at semi-pri- programmes about HIV/AIDS. taining and information tool. HIV/ vate schools. The public broadcaster South African AIDS, health and well-being are the The Apartheid government, appre- Broadcasting Corporation (SABC) is great challenges which have to be hensive that television might offer guided by the South African Consti- faced by TV. South Africans a window to the tution and the Broadcasting Act and world, that could tempt new ideals has a mandate to encourage “the and show the horrors of Apartheid, development of South African ex- outh Africans’ using edu- kept television at bay. Television, pression by broadcasting a wide range cational television to cre- therefore, only arrived in South Africa of programming that refers to South S ate awareness about HIV/ in the mid-seventies. When television African opinions, ideas, values and AIDS education in Apartheid South finally made its debut it became an artistic creativity” (Broadcasting Act Africa has been one of the most extension of the Apartheid propagan- No. 4 of 1999, Preamble). The SABC difficult of all the challenges that the da tool. The only images allowed on is made up of three channels: SABC new South Africa, which celebrated television were those sanctioned by 1, 2, 3 – each channel has a specific 10 years of democracy in 2004, has the Apartheid government. target audience. SABC 1 is designed had to deal with. The “Bantu Educa- Considering the above backdrop the for youth audiences. “SABC 1 cele- tion Act“, Act No 47 of 1953, estab- democratic South Africa has the chal- brates what it means to be youthful lished a Black Education Department lenge of making television an educa- and South African”. SABC 1, how- in the Department of Native Affairs, tional, entertaining and information ever, states that “it is not about age, which would compile a curriculum tool. However, the recent scourge of but about mindset-attitudes” (Chan- that suited the “nature and require- the HIV/AIDS virus in South Africa nel Statement – SABC Content Hub ments of the black people“. The has meant that the South African Briefs, 2004). SABC 2 is positioned author of the legislation, Dr. Hendrik Verwoerd (then Minister of Native Affairs, later Prime Minister), stated that its aim was “to prevent Africans receiving an education that would lead them to aspire to positions they wouldn’t be allowed to hold in socie- ty. Instead Africans were to receive an education designed to provide them with skills to serve their own people in the homelands or to work in labouring jobs under whites.” (www.southafricaonline). Education only became equal to all South African children after the 1994 democratic elections. Pre-1994 chil- dren were classified according to race and had to attend schools according to their racial groups and in their spe- Takalani Sesame cast PROGRAMME 42 18/2005 E as a family channel within the Cor- rials and an extensive training initia- porations PBS network, and SABC 3 tive. Based on the American formula, is the Corporation’s Public Commer- Takalani Sesame provides children cial Channel and has the task “to build with literacy, numeracy and life-skills audience loyalty and improve on re- learning concepts. Takalani is the an- turn on investment” (Channel State- swer to some of South Africa’s pre- ment – SABC Content Hub Briefs, school educational programming that 2004). includes the production of resource SABC Education is a section of the materials that can be used by teachers, public broadcaster, with a positioning parents and caregivers. “Takalani inclusion of an HIV+ cast member statement “(to) deliver the public Sesame, a pilot project to provide has created astounding reaction from education mandate as described in the greater access to resources for par- the ultra-right wing – complaining Broadcasting Act (1995), provides ents, caregivers and educators in pro- that it is unacceptable to teach pre- educational content to the channels viding children with early learning ex- schoolers about HIV/AIDS – to Ka- and stations of the SABC, and sus- periences …” mie winning international acclaim tains these through the supportive (http://www.scieninafrica.co.za/ and many awards including the World elements of print, outreach and 2002/august/muppet.htm). Festival “Cine Golden Eagle” in the awareness campaigns” (SABC Con- The characters are all African and the children’s programme category. tent Hub Briefs, 2004). SABC Edu- radical multi-lingual approach has The former Minister of Education cation provides educational pro- been inspiring. The programme also Prof. Kader Asmal is convinced that grammes across the three channels. succeeds in providing optimum lan- these awards help to demonstrate Funding for the SABC comes from guage quotas. This is significant be- “South Africa’s leadership role in government and advertising. How- cause it gives young learners the op- preventing HIV and AIDS, as well as ever, in order to support South Afri- portunity to listen to different lan- in fostering positive attitudes among ca’s educational demands and to pro- guages and to enhance their own children towards those who are dif- vide greater learning opportunities language competence. Many black ferent”. Prof. Kader Asmal also de- some national departments, like the South Africans speak more than three scribed South Africa as a country Department of Education, Communi- languages, the mother tongue was not “united by a common belief in a so- cations, Health and Labour, have also given priority in the Apartheid era, ciety where all people are afforded provided additional funding for the and it is therefore extraordinary that dignity and respect”. He felt that these production of educational pro- a national television programme is values should be learnt at an early grammes. multi-lingual. age, and in many ways Takalani Sesame embodies this philosophy. Takalani Sesame Takalani Sesame programmes are SABC Education in partnership with Kamie, the HIV positive broadcast on SABC 2, Monday to the National Department of Educa- 5-year-old muppet Friday at 10.00 a.m. and again at 3.00 tion produces Takalani Sesame. Taka- p.m. as well as on Saturday and Sun- lani is South Africa’s version of the The introduction of Kamie, a spirited day mornings at 10.00 a.m. USA acclaimed Sesame Street. Taka- 5-year-old muppet that is HIV+, will lani, which means “be happy” in help educate about HIV/AIDS. Soul Buddyz TshiVenda (one of South Africa’s 11 Kamie explains in simple terms what Soul Buddyz is another award-win- official languages) is produced for the it means to be HIV+. The results have ning educational series that imparts ECD (Early Childhood Development) been astonishing – children are learn- excellent educational values. The phase, which is 0 to 5 years. Only one ing that HIV is not contagious, that focus of Soul Buddyz is to promote million of an estimated 8 million chil- you can hug someone who is HIV+, health and well-being for the 8- to 12- dren in the 0 to 6 year age group are that HIV+ people need love and care year-old age group. Soul Buddyz is a enrolled in some type of pre-school – all these fundamental issues about “multi-media edutainment series”. It programme. taking care of people living with HIV. is developed by Soul City – the Insti- (http://www.scieninafrica.co.za/ “The character is expected to help de- tute of Health and Development 2002/august/muppet.htm). stigmatise AIDS and encourage pos- Communication (IHDC) in partner- Takalani Sesame, however, is aimed itive behaviour towards infected peo- ship with SABC Education. at the 3 to 7 years age group. Takalani ple” (www. Scienceafrica.co.za). Ka- “Soul Buddyz has been developed is a multi-lingual radio and television mie was introduced as part of the Ta- specifically with this age group in programme supported by print mate- kalani Sesame cast. This pioneering mind, because attitudes are often PROGRAMME 18/2005 E 43 formed during this critical time and yet, in the context of a rapidly trans- forming society with technological changes as well as social changes, the needs and aspirations of children between the ages of 8 to 12 years old are often neglected. Emotional and health problems often originate or become embedded in this age group, with social problems such as physical and sexual abuse severely retarding the potential of many children.” ( http://www.soulcity.org.za) As a multi-media project Soul Buddyz has four main components: televi- sion, radio, a life-skills booklet for Grade 7 and a parenting booklet. Soul Buddyz – at the President’s office Soul Buddyz is broadcast on SABC 1. It is a 26-part drama series with each episode being 26 minutes in duration. part of the South African Constitution abuse, xenophobia, HIV/AIDS and The drama unfolds when a group of there are special quotas for the em- environmental issues. The clubs will children, from the multi-cultural ployment and integration of disabled also be engaged in arts, cultural and background of South Africa, meet ev- people. sporting activities. eryday after school at a recreational The group has to deal with the The last ten years of transformation park. The group includes the entire dilemmas that most South African in South Africa have heralded a crit- South African spectrum – all race children are confronted with, for ical boost in understanding and deal- groups as well as a disabled boy on a example peer pressure, school work, ing with educational priorities.
Load more

Recommended publications
  • Who Owns the News Media?
    RESEARCH REPORT July 2016 WHO OWNS THE NEWS MEDIA? A study of the shareholding of South Africa’s major media companies ANALYSTS: Stuart Theobald, CFA Colin Anthony PhibionMakuwerere, CFA www.intellidex.co.za Who Owns the News Media ACKNOWLEDGEMENTS We approached all of the major media companies in South Africa for assistance with information about their ownership. Many responded, and we are extremely grateful for their efforts. We also consulted with several academics regarding previous studies and are grateful to Tawana Kupe at Wits University for guidance in this regard. Finally, we are grateful to Times Media Group who provided a small budget to support the research time necessary for this project. The findings and conclusions of this project are entirely those of Intellidex. COPYRIGHT © Copyright Intellidex (Pty) Ltd This report is the intellectual property of Intellidex, but may be freely distributed and reproduced in this format without requiring permission from Intellidex. DISCLAIMER This report is based on analysis of public documents including annual reports, shareholder registers and media reports. It is also based on direct communication with the relevant companies. Intellidex believes that these sources are reliable, but makes no warranty whatsoever as to the accuracy of the data and cannot be held responsible for reliance on this data. DECLARATION OF CONFLICTS Intellidex has, or seeks to have, business relationships with the companies covered in this report. In particular, in the past year, Intellidex has undertaken work and received payment from, Times Media Group, Independent Newspapers, and Moneyweb. 2 www.intellidex.co.za © Copyright Intellidex (Pty) Ltd Who Owns the News Media CONTENTS 1.
    [Show full text]
  • The Art of Pitching (2005) the Art of Co-Production the Art of Sourcing Content National and International Annual Observances Thought Memory
    Producer Guide The PArti tofc hing Pitching A Handbook for Independent Producers 2013 Revised and Updated Published by the SABC Ltd as a service to the broadcast sector Pitch the act of presenting a proposal to a broadcaster – either in person or in the form of a document The word “pitch” became common practice in the early days of cinema when studios needed an expression of the passion that was not always evident in written words. “You write the words, but you pitch the feelings.” "If you want to go quickly, go alone. If you want to go far, go together" - African proverb “A tree is known by its fruit” - Zulu proverb Content is Queen In this series The Art of Pitching (2005) The Art of Co-production The Art of Sourcing Content National and International Annual Observances Thought Memory © SABC Ltd 2013 Pitching The Art of PitchingPitching Revised Edition 2013 By Howard Thomas Commissioned by SABC Innovation and Editorial Conceptualised and initiated by Yvonne Kgame © SABC Ltd 2013 The Art of Pitching Howard Thomas has worked in the entertainment industry all his life, and in television since it first arrived in South Africa in 1976. He is an award-winning TV producer, and has worked in theatre, radio, films, magazines and digital media. He has been writing about the industry for over 20 years. He is also a respected trainer, lecturer and facilitator, columnist and SAQA accredited as an assessor and moderator. All rights reserved. No part of the publication may be reproduced or transmitted in any form or by electrical or mechanical means, including any information storage and retrieval system, without prior permission in writing from the publishers.
    [Show full text]
  • The South African Broadcasting Corporation’S (SABC) 2019/20 Annual Report Was Tabled in Parliament on Tuesday, 17 November 2020
    MEDIA STATEMENT SABC TABLES 2019/20 ANNUAL REPORT Johannesburg, Tuesday, 17 November 2020 - The South African Broadcasting Corporation’s (SABC) 2019/20 Annual Report was tabled in Parliament on Tuesday, 17 November 2020. As detailed in the Annual Report, the public broadcaster continues to deliver on its extensive public service mandate despite very challenging conditions. While the Corporation faced another difficult year that was further compounded by depressed economic activities that particularly affected revenue generation, the public can be reassured that the building blocks to stabilise the Corporation are now in place. At the end of March 2020, the Corporation reported a net loss of R511 million, a 6% decline compared to the previous year, but a 20% better performance against budget. In a challenging economic environment, total revenue declined by 12% year-on-year to R5.7 billion. The decline can be attributed primarily to a decrease in advertising spend across the industry and the delay in finalising commercial partnerships on digital platforms. TV licence revenue has also come under pressure under difficult economic conditions for our audiences. TV licence revenue declined by 18% year-on-year to R791 million due the delayed use of Debt Collection Agencies in this period. This resulted in only 24% of the total licence fees billed being realised as revenue, compared to 31% for the year ended 31 March 2019. As part of an overall policy review, the SABC is currently finalising proposals to government on the future collection of a public broadcasting levy, taking into account differing public views on this issue as well as international best practice.
    [Show full text]
  • A Channel Guide
    Intelsat is the First MEDIA Choice In Africa Are you ready to provide top media services and deliver optimal video experience to your growing audiences? With 552 channels, including 50 in HD and approximately 192 free to air (FTA) channels, Intelsat 20 (IS-20), Africa’s leading direct-to- home (DTH) video neighborhood, can empower you to: Connect with Expand Stay agile with nearly 40 million your digital ever-evolving households broadcasting reach technologies From sub-Saharan Africa to Western Europe, millions of households have been enjoying the superior video distribution from the IS-20 Ku-band video neighborhood situated at 68.5°E orbital location. Intelsat 20 is the enabler for your TV future. Get on board today. IS-20 Channel Guide 2 CHANNEL ENC FR P CHANNEL ENC FR P 947 Irdeto 11170 H Bonang TV FTA 12562 H 1 Magic South Africa Irdeto 11514 H Boomerang EMEA Irdeto 11634 V 1 Magic South Africa Irdeto 11674 H Botswana TV FTA 12634 V 1485 Radio Today Irdeto 11474 H Botswana TV FTA 12657 V 1KZN TV FTA 11474 V Botswana TV Irdeto 11474 H 1KZN TV Irdeto 11594 H Bride TV FTA 12682 H Nagravi- Brother Fire TV FTA 12562 H 1KZN TV sion 11514 V Brother Fire TV FTA 12602 V 5 FM FTA 11514 V Builders Radio FTA 11514 V 5 FM Irdeto 11594 H BusinessDay TV Irdeto 11634 V ABN FTA 12562 H BVN Europa Irdeto 11010 H Access TV FTA 12634 V Canal CVV International FTA 12682 H Ackermans Stores FTA 11514 V Cape Town TV Irdeto 11634 V ACNN FTA 12562 H CapeTalk Irdeto 11474 H Africa Magic Epic Irdeto 11474 H Capricorn FM Irdeto 11170 H Africa Magic Family Irdeto
    [Show full text]
  • NATIONAL IDENTITY in POST-APARTHEID SOUTH AFRICA: SABC TV's CONTRIBUTION by KURAI PROSPER MASENYAMA Submitted in Partial Fulfi
    NATIONAL IDENTITY IN POST-APARTHEID SOUTH AFRICA: SABC TV’S CONTRIBUTION By KURAI PROSPER MASENYAMA Submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS In INDUSTRIAL SOCIOLOGY In the FACULTY OF HUMANITIES At the UNIVERSITY OF JOHANNESBURG SUPERVISOR: PROFESSOR J.M. UYS CO-SUPERVISORS: MS M. DAWSON & MS L. LOCHNER JANUARY 2005 For my mother who sacrificed so much so that I could have what she could not have. TABLE OF CONTENTS ACKNOWLEDGEMENTS AND DECLARATION i ABSTRACT ii OPSOMMING iii TABLE OF CONTENTS iv CHAPTER ONE THE RESEARCH PROBLEM AND ITS SETTING 1.1 INTRODUCTION 1 1.2 BACKGROUND TO THE RESEARCH 2 1.3 STATEMENT OF THE PROBLEM 4 1.4 AIMS OF THE RESEARCH 6 1.5. CHAPTER OUTLINE 7 CHAPTER TWO A THEORETICAL BACKGROUND OF NATIONAL IDENTITY 2.1 INTRODUCTION 9 2.2 CONCEPTUALISING IDENTITY 9 2.3 A THEORETICAL BACKGROUND TO IDENTITY, NATIONALISM AND NATIONAL IDENTITY 10 2.3.1 Social Identity Theory 10 2.3.2 Classical Sociological Theories On National Identity 11 2.3.3 Contemporary Sociological Theories On National Identity 12 2.3.3.1 Primordialism 13 2.3.3.2 Modernism 14 2.3.3.4 Postmodernism 15 2.4 THE CHANGING COURSE OF NATIONAL IDENTITY IN SOUTH AFRICA 17 2.4.1 National Identity Before And During The Apartheid Era 17 2.4.2 National Identity In The Post-Apartheid Era 17 2.5 TRENDS IN NATIONAL IDENTITY FORMATION AND THE ROLE OF COMMUNICATION 19 2.6 LANGUAGE AND NATIONAL IDENTITY CREATION 20 2.7 CONCLUSION 22 CHAPTER 3 PUBLIC SERVICE BROADCASTING IN SOUTH AFRICA 3.
    [Show full text]
  • Link Digital Dilemmas
    Digital Dilemmas for South African TV Chris Armstrong & Richard Collins July 2004 Digital Dilemmas for South African TV Table of Contents Abstract 1. Introduction - The ‘Digital Age’............................................................3 2. The Digital TV ‘Switchover’.................................................................5 3. The Digital TV Stakeholders in South Africa ......................................9 4. Policy Balancing Act .........................................................................14 5. Spectrum Efficiency ..........................................................................16 6. Interactivity........................................................................................17 7. Transmission Costs ..........................................................................19 8. Licence Fee Collection .....................................................................21 9. Citizen Access ..................................................................................22 9.1 Signal Coverage ...................................................................23 9.2 Affordability ...........................................................................25 9.3 Home-Language Provision ...................................................26 10. The Way Forward ...........................................................................28 Acknowledgements...............................................................................30 References............................................................................................31
    [Show full text]
  • Amendment to Licences of SABC 1 , SABC 2, SABC 3, RSG, Lesedi FM
    STAATSKOERANT, 19 AUGUSTUS 2008 No. 31349 3 NOTICE 992 OF 2008 APPLICATION FOR THE TECHNICAL AMENDMENT TO THE LICENCES OF SABC 1, SABC 2, SABC 3, RSG, LESEDI FM, THOBELA FM, MOTSWEDING FM AND PHALAPHALA FM 1. The Independent Communications Authority of South Africa ("the Authority1') hereby gives notice, in terms of the provisions of section lO(2) of the Electronic Communications Act, No. 36 of 2005 ("EC Act"), that it has received an application from the South African Broadcasting Corporation Limited ("SABC") for the amendment to the broadcasting licences of SABC 1, SABC 2, SABC 3, RSG, Lesedi FM, Thobela FM, Motsweding FM and Phalaphala FM in terms of section 1O(1) (c) of the EC Act. 2. The amendment is sought to allow for the expansion of SABCI, SABC 2, SABC 3 and different radio stations in the areas mentioned below: 2.1 Free State Province * Philippolis - SABC 1, 2, 3 and Lesedi FM * Villiers - SABC 1, 2, 3 and Lesedi 2.2 Western Cape Province Agter-witzenberg - SABC 1, 2, 3 and RSG Genadendal - SABC 1,2,3and RSG 2.3 Limpopo Province * lndermark - SABC 1, 2, 3, and Thobela FM * Vhulaudzi o Mavhunga - SABC 1,2,3 and Phalaphala FM o Mpzema - SABC 1,2, 3 and Phalaphala FM 2.4 Northern Cape Province * Kgalagadi ISRDP Node o Springbokpan - SABC 1, 2,3, RSG and Motsweding FM o Heuningvlei - SABC 1, 2, 3 and Motsweding FM o Laxey - SABC 1,2,3 and Motsweding FM o Severn - SABC 1, 2, 3, and Motsweding FM o Loopeng - SABC 1,2,3 and Motsweding FM 4 No.
    [Show full text]
  • South Africa Representations of South Africa in Television Commercials: an Experiment in Non-Directive Methods
    Questions de Recherche / Research in Question N° 19 – Décembre 2006 Viewing the “New” South Africa Representations of South Africa in Television Commercials: An Experiment in Non-directive Methods Rehana Ebrahim-Vally Denis-Constant Martin Centre d’études et de recherches internationales Sciences Po VIEWING THE “NEW” SOUTH AFRICA Representations of South Africa in Television Commercials: An Experiment in Non-directive Methods1 Rehana Ebrahim-Vally2 Denis-Constant Martin3 Résumé L’apartheid fut édifié sur la base de perceptions du corps justifiant leur classification hiérarchique. Il visait à séparer les personnes porteuses d’apparences physiques différentes de manière à préserver la pureté de la « race blanche » et sa domination en Afrique du Sud. Le corps, par conséquent, offre une entrée pertinente pour comprendre les changements qui se sont déroulés en Afrique du Sud depuis 1990 en tâchant d’aller au- delà de la surface des phénomènes observables, en essayant de faire surgir les représentations de ces changements que se sont forgées les Sud-africains. Cette étude présente une enquête expérimentale visant à comprendre les représentations de la « nouvelle » Afrique du Sud qui ont cours parmi les jeunes Sud-africains au commencement du 21ème siècle. Elle part du principe que la mise au jour et l’analyse des représentations sociales exige, au moins au stade initial, l’utilisation d’entretiens de groupe non-directifs ; elle montre que les images du corps telles que projetées dans des publicités télévisuelles peuvent servir de consignes efficaces pour démarrer des entretiens portant sur l’état de la société sud-africaine au début des années 2000. Quatre clips publicitaires diffusés à la télévision sud-africaine en 2003 furent sélectionnés pour les besoins de cette enquête et utilisés comme « consigne » pour lancer trois entretiens collectifs avec des jeunes Sud-africains, auxquels fut ajouté un entretien de contrôle avec des étudiants français.
    [Show full text]
  • SABC 3 MEDIA LAUNCH EXPERIENCE CLOSING DATE & TIME 04 March 2021 @ 12:00
    SCM Division Radio Park, Henley Road Auckland Park 2092 Johannesburg Private Bag X1 Auckland Park 2006 Tel. +27 11 714-2150 Fax +27 11 714-4000 URL http://www.sabc.co.za E-mail [email protected] REQUEST FOR QUOTATION (RFQ) RFQ NUMBER: RFQ/TV/2021/32 TENDER ISSUE DATE 26 FEBUARY 2021 RFQ DESCRIPTION PROVISION OF SABC 3 APRIL /MAY 2021 SABC 3 MEDIA LAUNCH EXPERIENCE CLOSING DATE & TIME 04 March 2021 @ 12:00 Submissions must be electronically submitted to [email protected] on or before the closing date of this RFQ, For queries, please contact Livhuwani Ramushweu via email: [email protected] The SABC requests your quotation on the services listed above. Please furnish us with all the information as requested and return your quotation on the date and time stipulated above. Late and incomplete submissions will invalidate the quote submitted. SUPPLIER NAME : _______________________________________________ POSTAL ADDRESS : _______________________________________________ TELEPHONE NO : _______________________________________________ FAX. NO. : _______________________________________________ E MAIL ADDRESS : _______________________________________________ CONTACT PERSON : _______________________________________________ CELL NO : _______________________________________________ SIGNATURE OF BIDDER: _________________________________________________ South African Broadcasting Corporation SOC Limited: Registration Number: 2003/023915/30 Non-Executive Directors: Mr B E Makhathini (Chairperson); Ms M Mohlala-Mulaudzi (Deputy Chairperson); Prof S Cooper; Adv M B B Lekalakala; Mr D M Maimela; Mr M G Markovitz; Mr D K Mohuba; Ms J Patel; Mr J H Phalane; Ms M B Papayya; Dr M Socikwa Executive Directors: Mr M T Mxakwe (Group Chief Executive Officer); Mr I C Plaatjes (Chief Operations Officer); Ms Y van Biljon (Chief Financial Officer); Company Secretary: Ms L V Bayi NOTES ON QUOTATIONS AND PROPOSALS SUBMISSION 1.
    [Show full text]
  • Plan 2020/21-2022/23 Contents Glossary of Terms
    PLAN 2020/21-2022/23 CONTENTS GLOSSARY OF TERMS BRC Broadcast Research Council Compound Average Growth Rate 2 Glossary of Terms CAGR CDN Content Delivery Network 2 Contents DAF Delegation of Authority Framework 4 Chairperson Forward DCDT Department of Communications and Digial 6 GCEO Forward Technologies DOH Department of Health DSTV Digital Satellite Television 10 PART A: Company Purpose and Strategic Overview DTH Direct Satellite Television 10 Vision DTI Department of Trade and Industry 10 Mission DTPS Department of Telecommunications and 10 Values Postal Services 10 Legislative and other Mandates DTT Digital Terrestrial Television 13 Situational analysis EBAF Enterprise Broadcast Architecture Framework 18 Organisational Environment ECA Electronics Communications Act EPG Electronic Programme Guide 20 SABC Services EU European Union 21 Strategic Planning Process FCC Final Control Centre FET Further Education and Training 30 PART B: Delivery on Strategy FM Frequency Modulation 30 Strategic FY2020/21 - 2022/23 FPB Film and Publication Board 30 Pillars and Goals GIS Geographic Information Systems 31 Financial Sustainability GDP Gross Domestic Product 34 Content and Platforms ICASA Independent Communications Authority of South Africa 36 Digital ICT Information Communications and Technology 38 Human Resources IP Internet Protocol 39 Governance ITA Invitation to Apply 41 Partnerships ITU International Telecommunication Union 42 SABC Predetermined Objectives: FY2020/21 – FY2022/23 LTCP Long Term Capex Plan 43 SABC Predetermined Objectives: FY2020/21
    [Show full text]
  • Annual-Report 2009/12
    As we reflect on the success of the year which realised South Africa’s dream of hosting the 2010 FIFA World Cup™ let us also focus on the many great hills we have yet to climb... “I have walked that long road to freedom. I have tried not to falter; I have made missteps along the way. But I have discovered the secret that after climbing a great hill, one only finds that there are many more hills to climb. I have taken a moment here to rest, to steal a view of the glorious vista that surrounds me, to look back on the distance I have come...” Nelson Mandela 2010 Annual Report Contents The Annual Report of the SABC 2 Statement by the Chairperson of the SABC 4 Statement by the Group Chief Executive Officer 8 Report by the Chief Financial Officer 14 Report on the Performance of the SABC 20 Report on Mandate Performance – Public Broadcasting Services – Public Commercial Broadcasting Services – Universal Access – Local Content Delivery – News and Current Affairs 28 Report on the Sources of Revenue – Commercial Enterprises – Audience Services 32 Technology 34 Regions 36 Digital Migration South African Broadcasting Corporation Limited About the SABC 57 The Annual Financial Statements 40 Our People 114 Glossary of Terms – Human Capital Services used in the Report – Our Relationships – Organisational Structure – Composition of the Board 54 Our Awards This is the 73rd Annual Report of the South African Broadcasting Corporation Limited, referred to as ‘SABC’, ‘the Corporation’ or ‘the Company’ (Registration Number: 2003/023915/06). It is tabled in Parliament in terms of the Broadcasting Act, No 4 of 1999, as amended, and the Public Finance Management Act, No 1 of 1999, as amended.
    [Show full text]
  • Television Audiences in South Africa
    International Journal of Communication 13(2019), 4334–4352 1932–8036/20190005 Color TV: Postcolonial Concerns and “Colored” Television Audiences in South Africa SHELLEY-JEAN BRADFIELD1 Central College, USA As the first postapartheid television show to exclusively address “coloreds,” Color TV, a variety comedy show, participates in the postcolonial objective of dismantling historical racial hierarchies in South Africa. Yet contradictory responses by “colored” viewers to the focus on working-class experiences expose fault lines in this democratizing project. Identity theories of strategic essentialism and creolization explain how working-class viewers embraced the realism of Color TV that they felt legitimized the significance of their role in the nation, while middle-class viewers perceived the images as too restrictive yet simultaneously identified proudly as “colored.” The uneven reception of Color TV highlights the significance of addressing intersectional identities (of race and class) in television programming to expand inclusion of minority groups in multicultural nations. Keywords: Color TV, postcolonial, colored, television, audiences, South Africa, intersectional, race, class South Africa, brace yourself, phone jou ma en sê vir haar (call your mother and tell her): “There’s a new variety comedy show for Coloreds by Coloreds.” (SABC, 2011, press release, para. 6) Illuminating the significance of Color TV (2011–12), a variety comedy show that aired on a free- to-air public television channel (SABC 2), the South African Broadcasting Corporation’s (SABC) marketing materials acknowledge the historical lack of television representations of, by, and for people who identify as “colored,”2 or of mixed race. Besides drawing attention to the broad appeal of the show that even mothers of (“colored”) viewers will appreciate, the press release underlines the uniqueness of the show, as “coloreds” have been “a target market previously overlooked” (SABC, 2011, para.
    [Show full text]