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Children's Television in Botswana

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Children's Television in Botswana CHILDREN’S TELEVISION IN BOTSWANA: Policy, Regulations, and Diversity in a Developing Country A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy By Kennedy Tlamelo Ramojela Masters of Arts, Media, Emerson College (Boston-USA) Bachelor of Arts, Television, Columbia College Chicago (Chicago-USA) School of Media and Communication College of Design and Social Context RMIT University December 2016 i Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Kennedy Tlamelo Ramojela 31/12/2016 ii Acknowledgements This study was made possible through the University of Botswana (UB) sponsorship to conduct doctoral research into the children‟s television programs. Though it has been made possible through UB sponsorship, first of all I have to be thankful to God for His Love, protection, guidance and all the blessing he gave me through this journey of high learning. I would also like to thank and acknowledge my late mother, Betty Ramojela, who passed on in 2012 during my first year of my doctorate studies. Wherever you are Mum, I know you wanted to see me getting to the finish line but unfortunately God‟s way is not always our way. God had to bring you close to Him because He could see that you have already finished your work of looking after your Sheppard. This award goes to you Mum. You have been the greatest person ever, who cared and loved her children unconditionally and this is also dedicated to my son Kenson Atang Keitatotse. Fr. Patrick Sheridan C.P., my mentor and spiritual advisor, you gave me full support throughout my school life. You encouraged, challenged and inspired me to be a better person in life, and I would like to thank you for the love that you showed throughout the years, and for making me to believe in myself. There are many people who worked tirelessly in proofreading my work. I would like to thank Professor Eno Akpabio, Dr. Onalenna Selolwane, Dr. William Lesitaokana, Dr. Seamogano Mosanako, Loago Madigele, Fr. Patrick Sheridan C.P., and Kagiso Rantswaneng for taking their time from their busy schedules to look into my writing and advising where necessary. I will also like to thank my friends, Diphetogo Selolwane, Obed Nkgau, Nyiwa Mbenga, Thabo Osekeng, Tshepo Molwane, Maureen Keitatotse and Bakhola Mogorosi for always being supportive through this process. You guys are the best and God will reward you for all you did. To all my sisters, a brother and extended family members, you have been an essential part of my life and I wouldn‟t have achieved this if you were not there for me. Thank you all for being there whenever I needed you. Associate Professor Cathy Greenfield, your continuous support, comments, criticism and guidance have helped me to be the person who I am today. You have been a big sister, friend, guardian and a true advisor who has never in any given point in time hesitated to stamp your authority. As much as I felt that sometimes you were asking too much, I respected you and enjoyed your supervision. Prof Peter Horsfield and Dr Philip Dearman, thanks a million times for agreeing to serve on my supervision committee. I have learnt a lot from you and your advice, comments and criticisms were always meant to help me to become a better researcher. I will also like to think our Administrator Alice Black who took her time to show me RMIT Campus and especially the School of Media and Communication on my first day. Lastly I would like to thank all staff members of the RMIT University, School of Media and Communication who have contributed positively to my studies. Thanks you all and may God bless you all for you positive contributions. iii Table of Contents Acronyms and Abbreviations x-xiii Abstract 1-2 Chapter One: Introduction 1.1 Purpose and objectives of the study 3 1.2 Research questions 3 1.3 Overview Chapters 4 1.4 Background statement 5 1.5 Statement of the research problem 6 1.6 Literature review 8 1.7 Themes in the literature 9 1.7.1 Culture 9 1.7.1.1 National identity and culture 12 1.7.1.2 Cultural preservation and protection 14 1.7.2 Media policy 16 Chapter Two: Methodology and conceptual framework 2.1 Purpose of the chapter 18 2.2 Research approach 18 2.3 Qualitative interviews 18 2.4 Document analysis 20 2.5 Significance and rationale of the study 21 2.6 Recruiting and interviewing process 21 2.7 Definitions of terms 22 2.7.1 Television 23 2.7.2 Children 23 iv 2.7.3 Children programs 24 2.8 Conclusion 25 Chapter Three: The history and characteristics of television in Botswana 3.1 Introduction 26 3.2 The concept of public service broadcasting 26 3.3 Overview of television in Botswana 28 3.4 Television development in Botswana 30 3.4.1 The coordinator of BTV project 32 3.4.2 Projects benefits and accessibility 33 3.4.3 Botswana television launch 35 3.4.4 BTV programs: Picture of the nation 36 3.4.5 BTV favourite youth programs 37 3.4.6 Flava Dome 38 3.4.7 Mokaragana 38 3.5 MultiChoice court case 40 3.5.1 MultiChoice social responsibility 41 3.6 The establishment of eBotswana television 41 3.6.1 eBotswana court case against the SABC 42 3.7 Botswana Educational Television concept 43 3.7.1 Botswana educational television launched 45 3.7.2 Interview findings 47 3.7.2.1 Teachers speak out 47 2.8 Conclusion 53 v Chapter Four : The state of children’s television in Botswana 4.1 Findings 54 4.1.1 Introduction 54 4.2 Childhood perspective 54 4.3 International Conventions 55 4.4 Regulatory framework in Botswana 56 4.4.1 The Broadcasting Authority in Botswana 58 4.5 Media Practitioners Act 59 4.6 The Authority‟s independence 60 4.6.1 State interference 62 4.7 Government bureaucracy 63 4.8 Regulating children‟s television in Botswana 64 4.8.1 Programs and local content 66 4.9 Children‟s local programs findings 68 4.9.1 Children‟s local programs on BTV 68 4.9.2 Mantlwaneng 70 4.9.2.1 Presenters‟ wardrobe 71 4.9.3 Silent Shout 72 4.9.3.1 Children Americanized 74 4.9.3.3 Scheduling of programs 75 4.10 Children‟s commercial programming in Botswana 75 4.10.1 Children‟s advocacy groups: The case of Botswana 77 4.10.2 Interview findings 77 4.11 Conclusion 84 vi Chapter Five: Models and best practice of children’s television 5.1 Introduction 87 5.2 International children‟s television overview 90 5.3 Children‟s television in Australia 94 5.3.1 The „C‟ classification programs 96 5.3.2 Drama programming and content quota 101 5.3.3 Achievements of the CTS 101 5.3.4 Commercial broadcasters Against the CTS 102 5.4 Broadcasting and new media 104 5.5 Children‟s Organizations 106 5.5.1 Australian Children‟s Television Foundation (ACTF) 107 5.5.2 Screen Australia 109 5.5.3 The role of Screen Australia 109 5.6 Children‟s television in the UK 111 5.6.1 British Broadcasting Corporation overview 111 5.6.2 The BBC children‟s television success 112 5.6.3 The UK television regulator 115 5.6.4 The UK Office of Communication Board 116 5.6.5 The UK commercial broadcasters 116 5.6.6 The UK children‟s television arguments 118 5.6.6 The UK children‟s television and new media 119 5.7 Children‟s television in the United States 121 5.7.1 Children‟s television and public service broadcasting 122 5.7.2 Children‟s television policies in the US 124 5.7.3 Regulating children‟s television in the US 125 vii 5.8 Elements of the best practice model 127 Chapter Six: Regulatory framework and children’s television in South Africa 6.1 Introduction 132 6.2 Documents analysis findings 132 6.2.1 The Independent Broadcasting Authority 132 6.2.2 The Independent Communications Authority of South Africa 134 6.2.3 A Code of Conduct 135 6.2.4 The Broadcasting Act of 1999 136 6.2.5 South African public service broadcasting challenges 138 6.3 Interview findings 139 6.3.1 SABC children‟s editorial policies 139 6.3.2 Commercial television and children‟s programs in South Africa 143 6.3.3 YoTV children‟s television productions 144 6.3.4 Red Pepper Children‟s Television productions 147 6.4 Conclusion 153 Chapter Seven Recommendations and conclusion 7.1 Introduction 154 7.2 Recommendations 154 7.2.1 Regulatory framework and content 154 7.2.2 Appropriate scheduling 157 7.2.3 Children‟s television programs incentives 158 7.2.4 Independent regulation Authority 159 7.2.5 Children‟s television research 160 7.3 Conclusion 161 7.3.1 Program diversity 163 7.3.2 Program scheduling 164 viii 7.3.3 Interviews findings summary 165 Bibliography 168 Appendices 189 ix Acronyms and Abbreviations ABC American Broadcasting Company ABA Australian Broadcasting Authority ABCB Australian Broadcasting Control Board ABC Australian Broadcasting Corporation ABT Australian Broadcasting Tribunal ACCFTV Australian Council for Children‟s Film and Television ACMA Australian Communications and Media Authority ACCTP Advisory Committee on Children‟s Television Programs ACT Action for Children‟s Television ACTF Australian Children‟s Television Foundation AFC Australian Film Commission ANC African National Congress ATA Australian Teachers Association BAFTA British Academy of Film and Television Awards Batswana Botswana nationals (plural) BBC British Broadcasting Corporation BCCSA Broadcasting Complaints Commission
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