Product Development training as a tool for empowerment in crafts PDF
Preview Product Development training as a tool for empowerment in crafts
Masters Degree by Dissertation Product Development training as a tool for empowerment in crafts: A focus on training initiatives in pottery factories in the North West province. By ISAAC BONGANI MAHLANGU Student no: 727856 Submitted in fulfillment of the degree by dissertation MASTERS DEGREE: ARTS AND CULTURE MANAGEMENT In the Department of Humanities FACULTY OF THE ARTS AND CULTURE MANAGEMENT UNIVERSITY OF THE WITWATERSRAND Supervisor: Ms Avril Joffe AUGUST 2014 1 | P age Masters Degree by Dissertation DECLARATION I hereby declare that the dissertation submitted for my Masters Degree in Arts and Culture Management at the University of the Witwatersrand is my own original work, and has not been submitted before for any other degree or examination in any other university. ___________________________ Isaac Bongani Mahlangu _________day of_________, 2014 2 | P age Masters Degree by Dissertation Abstract This dissertation aims to examine how pottery factories in the North West province were conceived and how relevant their functions are, within the confines of craft product development training initiatives, as potential contributors to social empowerment, job creation and economic sustainability today. The dissertation will trace and analyse the impact of specific training initiatives undertaken to empower potters from one of these factories. The focus will be on the methods used to transfer product design and craft manufacturing skills (craftsmanship) as well as evaluating the challenges and success of these methods in promoting self-reliance and sustaining livelihood economically. The impact of these methods will be assessed by the beneficiaries‟ ability to integrate concepts, ideas and action as well as their understanding of the markets and ability to follow through orders. The research draws inspiration from the South African National Development Plan: Vision 2030 (NDP, 2011: 10). The plan envisages that by 2030; “the economy should be close to full employment; equip people with the skills they need; ensure that ownership of production is less concentrated and more diverse (where black people and women own a significant share of productive assets); and be able to grow rapidly, providing the resources to pay for investment in human and physical capital”. One of the key sectors anticipated to contribute in achieving the vision of the NDP is the craft sector as suggested by the Department of Trade and Industries (DTI‟s) Customised Sector Programme (DTI, 2005). This vision is possible in the craft community if community development efforts are not rushed towards achieving immediate results, but rather focus on the long term of investing in and empowering people with the relevant skills. Writing about applying design to alleviate poverty, Thomas (2006) suggests that sustainable results can only be achieved in the long term because short term initiatives are dependent on single individuals from „outside‟ organisations for designs and markets. And therefore this research focuses on pottery factories established in the year 2010 by Mintek‟s Small Scale Mining Beneficiation Programme, particularly the Timbita Ceramic Incubator. 3 | P age Masters Degree by Dissertation According to the Minister of Arts and Culture, the honourable Mr Paul Mashatile, the cultural and creative industries have the potential to be an important driver of economic growth and job creation (Business report, 5 April 2011, 17). Perceiving the creative sector beyond aesthetic and human development dimensions, and more as a sector with the potential to contribute to economic growth and job creation stimulated the assumption of more responsibility for stakeholders and government to invest in both financial and skills development. It is important then, to analyse whether the training methods implemented are efficient and effective in empowering these communities and whether or not they yield sustainable results. It is, therefore, anticipated that this study will contribute toward, at least within the South African context, the limited literature in craft development as an economic industry from the context of crafts product development and craftsmanship skills transfer. Applied research looking at practical cases will be combined with various literature engagements, and supported by semi-structured in-depth interviews used as tools to obtain information for this research. Key words: Craftsmanship, Designer-ship, Economic Empowerment, Empowerment, Job creation, Pottery, Poverty, Product Development, Social Empowerment, Sustainable Development, Training and Workmanship. 4 | P age Masters Degree by Dissertation ACKNOWLEDGENMENT I would like to express heartfelt gratitude and appreciation to everybody who contributed towards making the process of writing this dissertation possible. The people who have made the research process possible are: Professor Walter Oltmann who introduced me to the Arts and Culture Management division at the university. Doctor Cynthia Kros who showed faith in my work as well as my Supervisor Avril Joffe who has provided solid guidance, support and wisdom throughout the entire research process, particularly the relentless encouragement and inspiration she provided. I would also like to extend appreciation to the business members of Semphete Pottery, Mintek staff, Andrew Lestrange and all the role players who contributed in the research such as Eugene Hon from the University of Johannesburg and Vanessa Bower owner of Wordways. I thank the National Arts Council for their financial contribution to this research. 5 | P age Masters Degree by Dissertation DEDICATION I dedicate this dissertation to my parents to whom I owe all my success and achievements to. And I thank God for blessing me with such great parents, who have given me unconditional love, showed great faith in my decisions and have always supported me. I thank you Mr M. D. Mahlangu and Mrs N. M. Mahlangu for all the sacrifices you made, the support you have showed and commitment you have instilled in me. 6 | P age Masters Degree by Dissertation LIST OF ACRONYMS AND ABBREVIATIONS ABET – Adult Basic Education and Training BEE – Black Economic Empowerment CATHSSETA – Culture, Arts, Tourism, Hospitality and Sports Sector Education and Training Authority CBTE – Community-based tourism enterprises CCDI – Cape Craft and Design Institute CIGS – Cultural Industries Growth Strategy CIS – Co-operatives Incentive Scheme CSA – Creative South Africa CSP – Customised Sector Report DAC – Department of Arts and Culture DED – Department of Economic Development DoE - Department of Education DSAC – Department of Sports, Arts and Culture: North West Province DPSA – Disabled People of South Africa DSD – Department of Social Development DTI – Department of Trade and Industry EMIA – Export Marketing and investment Assistance ETQA – Education and Training Qualifications Authority FET – Further Education and Training IK – Indigenous Knowledge IKS – Indigenous Knowledge Systems IPAP – Industrial Policy Action Plan ITDG – Intermediate Technology Development Group 7 | P age Masters Degree by Dissertation MAPPPSETA – Media, Advertising, Publishing, Printing and Packaging Sector Education and Training Authority NAC – National Arts Council of South Africa NDP – National Development Plan NGDP – National Gross Domestic Product NQF – National Qualifications Framework NWCDI – North West Craft and Design Institute NWDE – North West Department of Education OECD – Organisation for Economic Cooperation and Development OEO – Office of Economic Opportunity RPL – Recognition of Prior Learning SADC – Southern African Development Countries SAQA – South African Qualifications Authority SACR – Sport, Arts, Culture and Recreation: Gauteng Province SASIX – South African Social Investment Exchange SEDA – Small Enterprise Development Agency SETA – Sector Education and Training Authority SLIF - Siyavuka Lateral Improvement Foundation SME – Small Micro Enterprise SMME – Small, Medium and Micro Enterprise SSA – Statistics South Africa SSAS – Sector Specific Assistance Scheme SSMB – Small Scale Mining and Beneficiation TWR – Technikon Witwatersrand UJ – University of Johannesburg 8 | P age Masters Degree by Dissertation LIST OF FIGURES CHAPTER TWO Figure 1: Hand-building techniques. Slabbing, coiling and pinching. Figure 2: Wheel-work, the technique of throwing. James Phakela of Semphete pottery at the Tshwane University of Technology pottery workshop 2011 Figure 3: Slip casting, poring liquid clay into a two piece plaster mould. Figure 4: Slip cast product transfer. Mintek 2014 Figure 5: Mould making process, NWCDI master crafter pottery training. Zeerust 2012 Figure 6: Hand painted mug, Semphete pottery 2010 Figure 7: Printed mug, Semphete pottery 2014 CHAPTER FIVE Figure 1: Wood fuelled Raku firing furnace Figure 2: Slip cast vessel, Semphete pottery 2013 Figure 3: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Pot made by artist Nic Sithole Figure 4: NWCDI master crafter skills transfer programme. Leaf inspired sculpture made by Mpho Gorewang of Arebopeng ceramics Potchefstroom Figure 5: NWCDI master crafter skills transfer programme. Leaf inspired sculpture made by Sadi Motheledi of Lekoko pottery in Mafikkeng Figure 6: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Sculpture made by artist Margot Rudplph Figure 7a: Saxon Hotel Restaurant, Johannesburg. Pot made by L‟estrange pottery Figure 7b: Saxon Hotel, Johannesburg. Pots made by L‟estrange pottery Figure 8: Outdoor garden vessels. L‟estrange pottery 2012, in Zeerust North West. Figure 9: Close up details of outdoor garden vessels. L‟estrange pottery 2012. Figure 10: Decorex Kwa-Zulu Natal 2011, NWCDI stand displaying L‟estrange indoor pots. Figure 11: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Museum Africa, Newtown Johannesburg. 9 | P age Masters Degree by Dissertation Figure 12: Slip cast vase made by Semphete pottery. Figure 13: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Coiled and thrown pot by artist Cecilia Robinson, awarded the Clover Premier Award for expression. Figure 14: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Ceramic bowls made by artist and lecturer at the Tshwane University of Technology, Poorvi Bhana. 10 | P age
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