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ARTS & CULTURE CONTRIBUTION TO TOURISM DEVELOPMENT & GROWTH

ARTS & CULTURE CONTRIBUTION TO TOURISM DEVELOPMENT & GROWTH. MR VUSITHEMBA NDIMA ACTING DEPUTY DIRECTOR-GENERAL: CULTURAL HERITAGE. CONTENTS. INTRODUCTION POLICY CONTEXT LEGISLATIVE AND INSTITUTIONAL FRAMEWORK DAC MANDATE ARTS, CULTURE & HERITAGE MANIFESTATIONS & OFFERINGS

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ARTS & CULTURE CONTRIBUTION TO TOURISM DEVELOPMENT & GROWTH

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  1. ARTS & CULTURE CONTRIBUTION TO TOURISM DEVELOPMENT & GROWTH MR VUSITHEMBA NDIMA ACTING DEPUTY DIRECTOR-GENERAL: CULTURAL HERITAGE

  2. CONTENTS • INTRODUCTION • POLICY CONTEXT • LEGISLATIVE AND INSTITUTIONAL FRAMEWORK • DAC MANDATE • ARTS, CULTURE & HERITAGE MANIFESTATIONS & OFFERINGS • INDIGENOUS KNOWLEDGE PRESERVATION & PROTECTION • IDENTIFICATION, MAINTENANCE, PRESERVATON AND PROMOTION OF CULTURAL AND HERITAGE SITES • SKILLS DEVELOPMENT, TRAINING & CAPACITY BUILDING • CONCLUSION 2

  3. 1. INTRODUCTION 1.1 DAC makes a direct contribution to tourism development and growth 1.2 This contribution is made through DAC establishing, supporting & developing arts, culture and heritage programmes, entities & producing activities consumed by locals, international visitors & international audiences 1.3 The extent of this contribution is not entirely clear & complete & requires scientific assessment and quantification 1.4 Although this contribution is substantial, it is still only a fraction of what this sector can contribute if its true potential is realised 3

  4. 2. POLICY CONTEXT 2.1 In January 2010, Cabinet Lekgotla adopted 12 Outcomes for implementation by government in the Medium-Term Expenditure Framework between now and 2014 2.2 Outcome 12: “An efficient, effective and development oriented Public Service and An empowered, fair and inclusive citizenship”. Outcome (12A) is led by the DPSA and Outcome (12B) is led by DAC and supported by other national departments and provinces 2.3 DAC also contributes to Outcome 1-improved quality of basic education, Outcome 4 - decent employment through inclusive growth & Outcome 7 - vibrant, equitable, sustainable rural communities. 4

  5. 3. LEGISLATIVE AND INSTITUTIONAL FRAMEWORK 3.1 Our legislative and institutional framework is primarily based on the White Paper on Arts, Culture and Heritage (1996) 3.2 The following legislations are offshoots of the White Paper. • National Archives and Records Service of South Africa Act, 1996 • Legal Deposit Act, 1997 • National Film and Video Foundation Act, 1997 • National Library of South Africa Act, 1998 • South African Library for the Blind Act, 1998 • National Arts Council Act, 1997 • South African Geographical Names Council Act, 1998 5

  6. 3. LEGISLATIVE AND INSTITUTIONAL FRAMEWORK Cont- • Cultural Institutions Act, 1998 • National Heritage Council Act, 1999 • National Heritage Resources Act, 1999 • National Council for Library and Information Act, 2001 • Promotion of Access to Information Act, 2000 3.3 The following legislations predate the White Paper: • Heraldry Act, 1962 • Culture Promotions Act • Pan South African Language Board Act 3.4 Most of these Acts have given birth to different institutions 6

  7. 4. DAC MANDATE 4.1 The vision of the DAC is to develop and preserve South African culture to ensure social cohesion and nation building 4.2 Develop and promote arts and culture in South Africa and mainstream its role in social development 4.3 Develop and promote the official languages of South Africa and enhance the linguistic diversity of the country 4.4 Improve economic and other development opportunities for South African arts and culture nationally and globally through mutually beneficial partnerships, thereby ensuring the sustainability of the sector 4.5 Develop and monitor the implementation of policy, legislation and strategic direction for the identification, conservation and promotion of cultural heritage 4.6 Guide, sustain and develop the archival, heraldic and information resources of the nation to empower citizens through full and open access to these resources 7

  8. 5. ARTS, CULTURE AND HERITAGE MANIFESTATIONS & OFFERINGS 5.1 Today I elect to avoid any definition of arts culture and heritage 5.2 Suffice to say that arts culture and heritage appears in physical and non-physical forms; cultural and natural forms 5.3 The physical aspect of culture is expressed through crafts, paintings, heritage objects, relics and artifacts in museums as well as sites 5.4 The non-physical aspect is expressed though music, oral history, oral traditions, artistic performances, rituals and indigenous knowledge 8

  9. 5. MANIFESTATIONS Cont- 5.5 These cultural forms provide us with the traces of human interaction with the environment and could involve, amongst other things, built heritage and other forms of cultural landscapes 5.6 The natural forms include those aspects of our culture that are an integral part of our environment such as our scenic beauty, wetlands and bio-diversity 5.7 Our role as the department of arts and culture is to ensure that arts, culture and heritage in their diverse forms are conserved, protected, developed, disseminated and promoted for current and future generations 5.8 This requires partnership with different stakeholders: Community, Public and Private 9

  10. 6. INDIGENOUS KNOWLEDGE 6.1 This is part of our culture that has been preserved by indigenous communities of different generations and has been passed from one generation to another 6.2 Gives us a sense of how different generations have used knowledge to deal with, amongst other things, economic, social and political challenges 6.3 It tells us about human creativity at different historical times 6.4 It gives us our sense of identity and provides visitors with the reason to want to come to us 6.5 Has been influenced and has influenced other cultures 6.6 Due to mainly the intangible nature of indigenous knowledge, its protection and conservation poses challenges 10

  11. 6. INDIGENOUS KNOWLEDGE Cont- 6.7 The large part of it was and continues to be lost because there has been the lack of comprehensive legal instruments for its protection 6.8 People steal our songs, our stories, our dance performances and other forms of indigenous knowledge to turn them into movies and documentaries that create wealth 6.9 As a result of this state of affairs the DAC has developed a draft policy on intangible heritage 6.10 Protect our culture so that the intellectual property rights remain with our communities 6.11 We have commissioned an audit of intangible cultural heritage 11

  12. 6. INDIGENOUS KNOWLEDGE Cont- 6.12 Get a sense of the diverse elements of intangible culture in our society 6.13 This will help to conserve and protect it 6.14 It will also help us to find ways of working with you in packaging this intangible culture for our visitors 6.15 To develop guidelines for ensuring authenticity & sustainable commercialisation of cultural experiences 6.16 Our visitors-both domestic and foreign want to know how we lived and how we live today; how we sang and how we sing today, how we danced and how we dance today, how we believed and how we believe now. 6.17 Our festivals should become mobilizing and marketing instruments to attract our tourists 6.18 Recent revelation about the contribution of Cape Town Jazz festival to the GDP (R685 million) demonstrates the significance of our intangible culture 12

  13. 7. IDENTIFICATION, MAINTENANCE, PRESERVATION AND PROMOTION OF CULTURAL AND HERITAGE SITES 7.1 The DAC through its agencies has an arduous task of identifying cultural objects and heritage sites 7.2 Identification empowers us to conserve and protect these cultural properties 7.3 It also empowers us to develop comprehensive marketing strategies to promote our cultural objects and heritage sites through cultural tourism 7.4 Cultural tourism have positive externalities for a wide range of industries – hospitality, transport, creative, textile, food and other industries 7.5 A need to identify previously marginalized sites located in the urban, peri-urban and rural areas 7.6 A need to package new tourism routes that go through our rural towns and villages 7.7 Already, the DAC has and continues to build museums, memorials and community arts centres in the rural and peri-urban areas 13

  14. 7. IDENTIFICATION, MAINTENANCE, PRESERVATION AND PROMOTION OF CULTURAL AND HERITAGE SITES Cont- 7.8 A need to state the business case of cultural tourism – quantitatively and qualitatively 7.9 Better coordination amongst government departments, institutions, communities and private sector partners 7.10 In case of our museums that keep and exhibit our national memory through objects and stories – a need to avoid the duplication of efforts 7.11 Carving a niche and developing a competitive edge for each museum 7.12 Our curators and tour guides should have joint seminars to share ideas 7.13 More resources & closer cooperation with safety & security agencies to reduce both legal & illegal loss of cultural property 14

  15. 8. SKILLS DEVELOPMENT TRAINING & CAPACITY BUILDING 8.1 DAC intends to increase the contribution it makes to skills development & job creation through its many arts, culture & heritage programmes 8.2 The protection, preservation and promotion of heritage is dependent on skilled people 8.3 DAC embarked on a skills audit to identify scarce critical & priority skills in the heritage sector & to produce a Heritage Human Resource Development Strategy for producing and retaining those skills 8.4 Critical, scarce and priority skills show shortages and gaps in conservation, collection management, archaeology and heritage management 15

  16. 8. SKILLS DEVELOPMENT TRAINING & CAPACITY BUILDING Cont- 8.5 This year DAC will be distributing bursaries for development of priority skills in the heritage sector, 180 bursaries in the language profession, support for 50 young design students/entrepeneurs 8.6 DAC hopes to increase its skills development & job creation efforts with the establishment of an arts skills academy 16

  17. 9. CONCLUSION 9.1 DAC’s main focus is still to nourish the soul of the nation and to continue to use arts, culture and heritage for nation building, national reconciliation and social cohesion 9.2 However, DAC’s new vision goes beyond these ideals 9.3 It sees Arts, Culture and Heritage playing a pivotal role in the economic and skills development 9.4 DAC intends to foreground the contribution of arts, culture and heritage to economic development through creation of jobs and fighting poverty 9.5 DAC and DOT are working together in mainstreaming culture in tourism activities 17

  18. 9. CONCLUSION Cont- 9.6 The two departments are also working together to develop a five year heritage and social history tourism strategy. 9.7 The Strategy will produce a comprehensive plan on causing synergies between culture and tourism 18

  19. ThankYou 19

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