Presentation Transcript

1. ADAMS MISSION MULTI ARTS CENTRE AND MUSIC ACADEMY

   Mr. Zwakele Msane Project Founder & Coordinator 074 815 6492
2. Interpreting the PGDP through Amanzimtoti Cultural Diversity concept: Its role as an Arts Renaissance instrument Adams Mission and throughout South Africa Target:2013 FIFA Confederation Cup and Beyond [2013] “The PGDP sets out the vision and plan for the development of the Adams Mission until 2014. “ AMANZIMTOTI CULTURAL DIVERSITY concept”, A CLARION CALL, either for the return of S.A. exiles, or for the concerted effort of all S.A. intellectuals, erudite and unlettered, artisans, professionals in all fields of knowledge [including the arts], skills and science, who were bred and nurtured in South Africa but are no longer resident here to contribute towards its Renaissance.
3. Interpretation of the vision by our Consultancy: The KwaZulu/Natal, Eastern Cape etc. is the “breadbasket of South Africa”, but is largely rural and extremely underdeveloped There are three main pillars of PGDP: Economic growth, poverty eradication and sustainable human development [investment in people] The role of the Premiers in championing the PGDP. Deliverables on PGDP, GEAR &ASGISA.
4. Mission, Vision and Objectives Celebrate democracy in S.A Promoting tourism in S.A Promoting FIFA 2013 Confederation Cup Promoting productions that will have the following deliverables: Job creation / poverty eradication, self –sustenance and BEE through entrepreneurship and moral regeneration.
5. Why Indigenous or Traditional forms in choral music? Our TV screens are flooded with western oriented programmes e.g.. Pop Idols, Coca cola Pop stars etc. mimetic of Hollywood fashion and craze South African diet is urgently required e.gumdudo, umxhenso, umteyo, umrhibo, umbhayizelo, ingoma, zulu dance, isicathamiyaetc.
6. Key Performance Areas have been identified Amanzimtoti Cultural Diversity Chorale Amanzimtoti Cultural Inspirational m.n. Amanzimtoti Indigenous Competition Cum Festival Amanzimtoti Mosaic Dance Troupe Amanzimtoti Cultural Diversity Ship of Dreams m.n.
7. The birth of Amanzimtoti Chorale 2006 - 2014
8. The birth of Amanzimtoti Dance Troupe 2006 - 2014
9. Rehearsals Choir alone – 3 rehearsals a week ( 2 x a week & 1 on Saturday) S &T for rehearsals Rehearsals for production – 6 months Rehearsals of choir & band – 2 months Pre – production : CD / DVD Recording – 1 week Launch – ICC Durban : 3 days Performances at major Theatres in the Province Performances at all major centres in the country
10. DEVELOPING DISTRICT ANDLOCAL MUNICIPALITIES : Establishing /Forging parternership with : DSRAC Tourism institutions Municipalities Private sector Parastatals Other Government organisations Electronic media: Print media m.n.
11. Advantages to Sponsors The logos of all our sponsors who assist the Company financially will be displayed on : Adverts Transport Letter-heads Performance venues ( Provincial , National & International) CD/DVD Promotional Material Jingles
12. Development of Centres for Skills Transfer Upgrading of existing Centers in District Municipalities to cater for theatrical productions and skills training in the following areas : Sound engineering Sound proofing Directing, writing, conducting, arranging and scoring compositions Lighting, stage management, photography, video shoots and creating multi – media productions. Costume designs, manufacturing of backdrops, sets and props, décor and design Painting, sculpturing and craft etc. m.n.
13. RECORDING STUDIO AND WAREHOUSES:INFRASTRUCTURAL DEVELOPMENTAT ART CENTRES Stop the exodus of musicians to other provinces ( brain drain ) Particular skills training in recording technology and entrepreneurship Establishing a CD / DVD manufacturing plant Founding a warehouse for music distribution and also breaking the monopoly of “Reliable Distributor” in Johannesburg. m.n.
14. Development of an Open – Air Arena For showcasing Indigenous forms At entrances of towns and airports in the province To form Co –operatives to facilitate these projects
15. Regarding Libraries and Archives at all District Municipalities Development of a database of arts practitioners in District municipalities. To conduct skills audit per District / Municipality Development of an area of research in Municipalities. To conduct skills training in research, so that unlettered artists can also do research of traditional exponents or “grey hairs” in their locale.
16. PGDP:Sustainable development in Education: An education transformational programme Interface and synergies with the Departments of Education, Arts and Culture, Trade and Industry, FET Colleges and Universities on matters of Curriculum development. LEARNING AREAS: Developing modules on Ethnomusicological approaches towards music education: Developing modules on a South African philosophy of music education Developing modules on insights into the dynamic relationship between music and society The learners have to develop an intimate knowledge of their musical culture, including its range of materials and dance vocabulary.
17. Indegenous languages philosophical and metaphorical thoughts about music and composition. Western and mosaic compositional methods:structure, melody, harmony and rhythm. Philosophical thoughts and approaches towards musics of other cultures in South Africa History of all South African composers: A Mosaic approach Accumulation of indegenous languages musical terms Xhosa music terms to be used in music teaching and music making as signaling devices for rhythmic changes in dance movements or choreography Developing a Indegenous Languages-English Music Dictionary. Emphasis on home language [Hungarian examples] and local styles. Exploiting richness of home language e.g.. consonants and clicks.
18. Human Resource Development Upgrading technical and vocational skills Music as a subject of instruction: Academic [taking place inside the classroom situation] Music as a profession: Environmental [musical instruction that takes place outside the classroom situation]. Developing modules on skills training Answering the begging question: Who are the teachers? The Hungarian Experience: Exponents, practitioners, teachers, artists and 'grey hairs' at Art Centers and Cultural Villages are the people that have these requisites skills on indigenous forms. These practitioners must be commissioned or employed by the Department of Arts and Culture in collaboration with the Department of Education to teach inside the school situation and outside, in Cultural Villages and Art Centers [Heritage Houses] as it happens in Hungary
19. Types of Skills Training Developing new breed of professionals in the following vocations: Music teachers, instrumentalists, singers, dancers, choristers, researchers, composers, score-writers, choreographers, directors of stage productions, sound engineers, lighting technicians, costume designers, crafters, painters, seamstresses, décor, props and sets manufacturers as well as video technicians. Learning outcomes Creating full time employment to thousands of arts practitioners listed above. Creating full time employment to hundreds of music teachers that were deployed to other Departments and those unemployed . Creating full time employment to hundreds of so-called unlettered music exponents to teach in Schools, FET Colleges, Heritage Houses and Universities
20. Budgetary Items Capital Expenditure for purchasing of instrumentalism for the whole program Marketing and Advertising Accommodation Transport Catering Venue Hire Auditions Rehearsals Costumes S & T Recording Performances fees Contingency Consultation fees
21. Introducing Cultural Policies And Industries. Development and implementation of cultural policies Inventory and mapping of cultural industries Capacity building of cultural entreprenuers Strengthen existing cultural industries Establishing new cultural industries Promoting the participation of the youth and marginalized groups in cultural industires.