Date: 18/08/2005
Source: Ministry of Arts and Culture
Title: Jordan: National Film and Video Foundation Indaba
Keynote address by Minister of Arts and Culture, Dr Z Pallo Jordan, at the National Film and Video Foundation Indaba, Gallagher Estates, Midrand
Programme Director Mr. Eddie Mbalo, the CEO of the National Film and Video Foundation (NFVF),
Mr Mfundi Vundla, Chairperson of the NFVF,
The Staff and Management of NFVF,
Senior Government Officials,
Stakeholders in the Film and Related Industries,
Distinguished Guests,
Ladies and Gentlemen
I am privileged to be here with you today as you begin your deliberations in this Film Indaba. Our Coat of Arms bears the inscription "!KE E: /XARRA //KE", which means "Unity in Diversity." Since the arrival of democracy, Government has been very careful in formulating policies to put into account the diverse cultures of the people of South Africa. But our Constitution also obliges government to put in place measures that address and reverse the consequences of the racist policies of the past. Our shared vision of South Africa’s future has to balance the demands placed on us by these two, equally important considerations.
At the mid-year Cabinet Lekgotla South Africa's national priorities were reiterated. They are job creation, economic growth, poverty eradication, social cohesion and national identity. Any major programme that we embark upon must take these national priorities into consideration and weigh the extent to which that programme contributes to their realisation. The film and related industries readily lend themselves to addressing many of these.
The words 'indaba and Lekgotla' have very deep African cultural roots and tell us something about the texture and ethos of pre-colonial African societies here in South Africa. Iindaba, Makgotla were the institutionalised methods of dealing with multi-faceted societal problems through open, public and inclusive discussion. When a lekgotla was convened, every adult male in the community had the right to attend and to voice his opinion in the presence of his peers. Of course we appreciate that notions of equal rights for women were not part of pre-colonial Africa's political vocabulary.
By placing a matter before an Indaba or Lekgotla it was recognised as a problem of social significance, affecting the community as a whole and as such could not be handled within a single homestead. By so doing the various stakeholders within the community took ownership of it as a matter that had to be addressed collectively. Collective discussion too was based on certain recognitions:
That no single individual could comprehend all aspects of the problem. That at best each of the stakeholders could only see one or two facets of the problem. But the collective manner in which the solution was sought also signified that there was a shared commitment to solving the problem, and that the collective had the power to implement the solution once one had been arrived at.
This occasion has been dubbed an Indaba because we hope to apply that method to deal with the problems confronting this specific sector of our economy and cultural life. This Indaba, we hope, will unleash the energy we know is present among you to searching for and finding solutions.
In keeping with the approach of an Indaba we should scope the problem by answering to the following questions, notwithstanding our different perspectives:
* What is the present problem situation?
* How did the problem arise?
* Why should it be resolved?
* Why is it a problem from my perspective?
* How have I tried to solve the problem?
* What power do I have to act?
* What are my constraints? and
* What do I see as an ideal solution?
What I shall articulate here in the Film Indaba is the problem seen from the perspective of government. Other stakeholders most probably hold different perspectives on these issues.
Addressing parliament during my budget vote this year, I said: "2004 was the year during which South African film came of age. We have seen South African films scoop up awards at top film festivals in Europe, North America, India and the African continent." Within South Africa we have seen the previously disadvantaged individuals, especially women and youth, become prominent players in what is a film industry that is more than 100 years old.
We have also seen the production of a schedule of films examining and exploring our national psyche and South Africa's recent experience. We have witnessed the production of films that tell the stories that contribute to our national priorities; that celebrate the resilience of the human spirit against the oppressive regimes of the past; that can heal our people and communities; films that can motivate our people to reach for their highest aspirations; films that respond to the call made by President Thabo Mbeki, "Africa, Identify yourself."
South Africa's film-makers are translating the words of Patrice Lumumba: "Africa will write its own history", by producing the kinds of films that relate our own stories, from our own African perspective, and very significantly, are telling these in African languages.
The ability to produce films that portray the reality of our people without corroding their dignity is fundamental to the realisation of one of the principles enshrined in our Constitution, 'the freedom of expression'.
These developments mark the film sector's coming of Age. They are a departure from the past trends, which saw state subsidies being abused to produce films that gathered dust in the garages of the producers; products with little or no aesthetic value. They signify the end of the days when South Africa was a laughing stock of the world because our film makers helped siphon money out of the country to capitalise foreign production or to put money in the pockets of certain individuals.
We often speak of market failure in certain sectors of the economy and in some industries and, quite correctly, appeal for state intervention. With respect to our film industry failure occurred despite state intervention. Some would even argue that there was collusion between the actors within the state and the film industry that compromised the development and growth of the industry.
This might be just one of the ways in which the problem that we are here to address came about. In economic or commercial terms, capital injections by the state were confused with revenue, hence the weak state of capital formation within the film sector.
If the rapid growth we want is to be realised, we must eradicate the uneconomic tendencies that result in market failure. Various sectors of the economy attract capital because they demonstrate their potential of becoming strategic industries.
One of the outcomes of this Indaba must be a degree of introspection on how the film sector can be turned into its own best friend.
The state of the film industry in South Africa poses a problem for the government because there is a perception that though it is a sector that is well-suited to harnessing and projecting the cultural diversity of our people, few people, particularly from among the previously disadvantaged communities derive any value from it.
It shall be one of our tasks at this indaba to examine, very critically, whether or not this perception is true. And, if it is true, how to overcome it.
There are spatial skews in the sectoral facilities. There are no facilities in the disadvantaged areas - think of Soweto and Alexandra, here on our doorstep. It has been argued that the cinemas in townships have proved non-viable, as a result they have been closed down. But has anyone ever examined the merchandise that was offered in these outlets? That will indicate cultural and content irrelevance. The ownership of film outlets by local businesses was negligible.
In recent years, as the discretionary funds in the pockets of township dwellers swelled, there has been a proliferation of shopping malls in these neighbourhoods. The industry must seize the opportunity to harness these developments. We hope that this Indaba will chart a way forward in that regard.
We believe that the positive developments that mark the coming of age of the film industry are in large measure the consequences the developmental state that inspires government. What we are striving to create here in South Africa is a state whose mission is the consistent upliftment of our people, not by being a nanny, but by expanding the floor of opportunities and entitlements that can make their lives more rewarding and humane.
The government's developmental intent was demonstrated by its bringing into existence the NFVF; by its prioritisation of the film sector in the Micro Economic Reform Strategy (MRS) approved by the National Cabinet in 2002; through provisions for cultural development in the lottery legislation; through the content industries strategy approved by Cabinet in 2003; by the various initiatives in other spheres of government. Government has also inspired the setting up of film commissions, offered incentives, funded skills development through institutions such as the NFVF, the IDC, and TISA, as well as Section 24 of the Tax regime.
State intervention to address market failures is achieved by levelling the playing field through the creation of policy, legislation and institutional mechanisms. As we reflect on how the government has addressed the developmental challenges of the film sector, I think we can all agree that it has not been found wanting.
I hope that this indaba will provide constructive criticism and suggestions about how service delivery could be improved
In the tradition of the indaba and the lekgotla, let none of be shy to speak frankly and with conviction about the matters we feel strongly about. I know there are no easy answers. But this is our problem, as film-makers, stake-holders in film and as a government department that wants to transform the South African film industry into one of the hard-hitters in the South African economy. Provided we all proceed from the recognition that we are all on the same side, there is no reason why we cannot collectively arrive at the appropriate solutions for our shared problem.
Thank you.
Issued by: Ministry of Arts and Culture
18 August 2005
Source: Ministry of Arts and Culture
Title: Jordan: National Film and Video Foundation Indaba
Keynote address by Minister of Arts and Culture, Dr Z Pallo Jordan, at the National Film and Video Foundation Indaba, Gallagher Estates, Midrand
Programme Director Mr. Eddie Mbalo, the CEO of the National Film and Video Foundation (NFVF),
Mr Mfundi Vundla, Chairperson of the NFVF,
The Staff and Management of NFVF,
Senior Government Officials,
Stakeholders in the Film and Related Industries,
Distinguished Guests,
Ladies and Gentlemen
I am privileged to be here with you today as you begin your deliberations in this Film Indaba. Our Coat of Arms bears the inscription "!KE E: /XARRA //KE", which means "Unity in Diversity." Since the arrival of democracy, Government has been very careful in formulating policies to put into account the diverse cultures of the people of South Africa. But our Constitution also obliges government to put in place measures that address and reverse the consequences of the racist policies of the past. Our shared vision of South Africa’s future has to balance the demands placed on us by these two, equally important considerations.
At the mid-year Cabinet Lekgotla South Africa's national priorities were reiterated. They are job creation, economic growth, poverty eradication, social cohesion and national identity. Any major programme that we embark upon must take these national priorities into consideration and weigh the extent to which that programme contributes to their realisation. The film and related industries readily lend themselves to addressing many of these.
The words 'indaba and Lekgotla' have very deep African cultural roots and tell us something about the texture and ethos of pre-colonial African societies here in South Africa. Iindaba, Makgotla were the institutionalised methods of dealing with multi-faceted societal problems through open, public and inclusive discussion. When a lekgotla was convened, every adult male in the community had the right to attend and to voice his opinion in the presence of his peers. Of course we appreciate that notions of equal rights for women were not part of pre-colonial Africa's political vocabulary.
By placing a matter before an Indaba or Lekgotla it was recognised as a problem of social significance, affecting the community as a whole and as such could not be handled within a single homestead. By so doing the various stakeholders within the community took ownership of it as a matter that had to be addressed collectively. Collective discussion too was based on certain recognitions:
That no single individual could comprehend all aspects of the problem. That at best each of the stakeholders could only see one or two facets of the problem. But the collective manner in which the solution was sought also signified that there was a shared commitment to solving the problem, and that the collective had the power to implement the solution once one had been arrived at.
This occasion has been dubbed an Indaba because we hope to apply that method to deal with the problems confronting this specific sector of our economy and cultural life. This Indaba, we hope, will unleash the energy we know is present among you to searching for and finding solutions.
In keeping with the approach of an Indaba we should scope the problem by answering to the following questions, notwithstanding our different perspectives:
* What is the present problem situation?
* How did the problem arise?
* Why should it be resolved?
* Why is it a problem from my perspective?
* How have I tried to solve the problem?
* What power do I have to act?
* What are my constraints? and
* What do I see as an ideal solution?
What I shall articulate here in the Film Indaba is the problem seen from the perspective of government. Other stakeholders most probably hold different perspectives on these issues.
Addressing parliament during my budget vote this year, I said: "2004 was the year during which South African film came of age. We have seen South African films scoop up awards at top film festivals in Europe, North America, India and the African continent." Within South Africa we have seen the previously disadvantaged individuals, especially women and youth, become prominent players in what is a film industry that is more than 100 years old.
We have also seen the production of a schedule of films examining and exploring our national psyche and South Africa's recent experience. We have witnessed the production of films that tell the stories that contribute to our national priorities; that celebrate the resilience of the human spirit against the oppressive regimes of the past; that can heal our people and communities; films that can motivate our people to reach for their highest aspirations; films that respond to the call made by President Thabo Mbeki, "Africa, Identify yourself."
South Africa's film-makers are translating the words of Patrice Lumumba: "Africa will write its own history", by producing the kinds of films that relate our own stories, from our own African perspective, and very significantly, are telling these in African languages.
The ability to produce films that portray the reality of our people without corroding their dignity is fundamental to the realisation of one of the principles enshrined in our Constitution, 'the freedom of expression'.
These developments mark the film sector's coming of Age. They are a departure from the past trends, which saw state subsidies being abused to produce films that gathered dust in the garages of the producers; products with little or no aesthetic value. They signify the end of the days when South Africa was a laughing stock of the world because our film makers helped siphon money out of the country to capitalise foreign production or to put money in the pockets of certain individuals.
We often speak of market failure in certain sectors of the economy and in some industries and, quite correctly, appeal for state intervention. With respect to our film industry failure occurred despite state intervention. Some would even argue that there was collusion between the actors within the state and the film industry that compromised the development and growth of the industry.
This might be just one of the ways in which the problem that we are here to address came about. In economic or commercial terms, capital injections by the state were confused with revenue, hence the weak state of capital formation within the film sector.
If the rapid growth we want is to be realised, we must eradicate the uneconomic tendencies that result in market failure. Various sectors of the economy attract capital because they demonstrate their potential of becoming strategic industries.
One of the outcomes of this Indaba must be a degree of introspection on how the film sector can be turned into its own best friend.
The state of the film industry in South Africa poses a problem for the government because there is a perception that though it is a sector that is well-suited to harnessing and projecting the cultural diversity of our people, few people, particularly from among the previously disadvantaged communities derive any value from it.
It shall be one of our tasks at this indaba to examine, very critically, whether or not this perception is true. And, if it is true, how to overcome it.
There are spatial skews in the sectoral facilities. There are no facilities in the disadvantaged areas - think of Soweto and Alexandra, here on our doorstep. It has been argued that the cinemas in townships have proved non-viable, as a result they have been closed down. But has anyone ever examined the merchandise that was offered in these outlets? That will indicate cultural and content irrelevance. The ownership of film outlets by local businesses was negligible.
In recent years, as the discretionary funds in the pockets of township dwellers swelled, there has been a proliferation of shopping malls in these neighbourhoods. The industry must seize the opportunity to harness these developments. We hope that this Indaba will chart a way forward in that regard.
We believe that the positive developments that mark the coming of age of the film industry are in large measure the consequences the developmental state that inspires government. What we are striving to create here in South Africa is a state whose mission is the consistent upliftment of our people, not by being a nanny, but by expanding the floor of opportunities and entitlements that can make their lives more rewarding and humane.
The government's developmental intent was demonstrated by its bringing into existence the NFVF; by its prioritisation of the film sector in the Micro Economic Reform Strategy (MRS) approved by the National Cabinet in 2002; through provisions for cultural development in the lottery legislation; through the content industries strategy approved by Cabinet in 2003; by the various initiatives in other spheres of government. Government has also inspired the setting up of film commissions, offered incentives, funded skills development through institutions such as the NFVF, the IDC, and TISA, as well as Section 24 of the Tax regime.
State intervention to address market failures is achieved by levelling the playing field through the creation of policy, legislation and institutional mechanisms. As we reflect on how the government has addressed the developmental challenges of the film sector, I think we can all agree that it has not been found wanting.
I hope that this indaba will provide constructive criticism and suggestions about how service delivery could be improved
In the tradition of the indaba and the lekgotla, let none of be shy to speak frankly and with conviction about the matters we feel strongly about. I know there are no easy answers. But this is our problem, as film-makers, stake-holders in film and as a government department that wants to transform the South African film industry into one of the hard-hitters in the South African economy. Provided we all proceed from the recognition that we are all on the same side, there is no reason why we cannot collectively arrive at the appropriate solutions for our shared problem.
Thank you.
Issued by: Ministry of Arts and Culture
18 August 2005
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