AFRICA::CENTRE

 

STAKEHOLDER ENGAGEMENT PROCESS

OCTOBER 2004 – MAY 2005

 

From the inception of the Africa Centre, we determined that it must be a product of an open, transparent and intensely participatory process. To ensure that the Africa Centre was founded on a broad and meaningful set of contributions from the South African arts and culture community, we opted for a multi-pronged approach.  This consisted of establishing a number of initiatives each charged with developing recommendations for the specific content and challenges that could be encountered in establishing the Centre.  

One of the key initiatives was a Stakeholder Engagement Process, with two principle aims:

1. To introduce the concept of the Africa Centre to a broad spectrum of individuals active and influential in the arts, culture and heritage sectors in South Africa; and
2. To gauge levels of support for a project of this dimension and intent.

The following is a summary of the design and outcome of the stakeholder engagement process.

INTENTION

In introducing the concept of the Africa Centre, we were aware that we would be focusing on two parallel processes.  Firstly, we would seek to raise awareness and create an atmosphere of co-operative excitement that would persuade people to engage with the positive potential of the Centre. 

Secondly, we needed to gauge the extent of support for the concept, determine the basis of opposition, and elicit opinions on the purpose, tasks, role, programmatic content, conceptual framework and proposed location of the Centre.

  

PROCESS DESCRIPTION

In order to ensure consistency of approach throughout the process, one interviewer conducted all interviews.  The process included:

• Interviews with 45 respondents from across a broad spectrum of the arts, culture and heritage sectors.
• Participants were selected from the three main urban centres of South Africa; Cape Town, Johannesburg and Durban.
• Each interviewee received a concept document before the interview that outlined the proposed purpose, aims, objectives, location, leadership and programme of the Africa Centre.
• A set questionnaire was prepared.
  For the initial three interviews the effectiveness of sending interviewees the questionnaire prior to the interview was tested.  This was found to be an inhibiting factor and subsequent interviews used the prepared questionnaire as a guide without it having been pre-read by the interviewee.
• Individual interviews rather than group discussions were held for  the following reasons:

• Individual interviews allowed the interviewer the opportunity to draw out more focused and nuanced responses than would have been possible in a group situation.
• Personal and individual concerns might have been lost in the generalized response of a group.
• The interviewer would be able to judge the basis of potential dissent, disapproval or rejection of the idea more effectively on a one to one basis than would have been possible in a group setting.
• At this early stage of the project, it was important not to raise expectations of future involvement as a result of being a respondent in the Stakeholder Engagement Process. The establishment of a group or groups in each of the cities might have been misconstrued as a formal invitation to become involved in the future of the project. In a one to one setting, the interviewer was able to be very clear about the participant’s status in the consultation process.

SUMMARISED RESPONSES TO THE QUESTIONNAIRE

The following reflects the questions that were asked and a short summary of the responses that were received.

QUESTION 1

Have you had time to read the documentation? By way of starting this dialogue, what are your initial thoughts and feelings about the establishment of such a Centre?

All respondents had read the documentation and were willing to discuss its merits and engage with the concept.  Respondents shared their ideas unselfishly and freely.   The responses could be generally categorized as follows:

• Many expressed keen interest in being informed of future developments and possibly being involved in the project in the future. Many suggested other people whom they felt should also be drawn into the network and debate of the project.
• All respondents agreed that there was a definite need to establish an entity such as the Africa Centre. However, in the course of the interviews, it became apparent that although all agreed with the need there were reservations about HOW the project would be implemented.
• One of the 70 people interviewed expressed concern about the selection process of the international reference group. The concern was that many South African and African arts and culture practitioners were excluded from this group. This respondent was also in complete disagreement with the concept document, expressing that it was simplistic, flawed and provided a theoretically weak point of departure for the project. 
• Several respondents also took issue with some of the theoretical points and assertions made in the concept document. These will become apparent in the answers given to questions posed later in the interview.

QUESTION 2

On a scale of 1 – 10 how do you rate the NEED for such a centre?  Ten representing the most need.  Would you motivate your answer?

The responses could be generally categorized as follows:

• Of the 45 interviewed each respondent, without exception, welcomed the initiative and the idea of a project focused on Africa, based in Africa. They all felt that Africa needed an institution where issues pertinent to the future of its arts, culture and heritage could be discussed and where solutions to problems could be sought and acted upon.
• Many welcomed the concept of a project that would have as its aim the development of a new African leadership capable of re-framing how Africa is presented, characterized and creatively represented in an artistic and cultural context. The establishment of a space where debate, dialogue and discourse could take place was vital for Africa at this time.  Currently initiatives such as the new Pan African Parliament and the New Economic Plan for African Development were breathing new life into the African context, but they lack a coherent cultural and artistic perspective.  An institution such as the proposed Africa Centre has the potential to provide much needed content and substance to these issues.

 

QUESTION 3

In our document we are critical about the role and function that the museum as a cultural institution has played traditionally? Do you think these criticisms are valid? Would you motivate your answer?

The responses could be generally categorized as follows:

• All respondents agreed with the statement that ‘most of the important collections of African art are today located outside of Africa.” Many questions were raised about how the Africa Centre would respond to this situation. For Example:  What would the Africa Centre policy be on collections? Would the Africa Centre have its own collections?  Would the Centre have the necessary resources to be fully and truly representative of the arts, culture and heritage of the entire continent as we describe in our documents? Would the Centre develop policy on repatriation of African art and heritage artefacts?
• Six (6) respondents disagreed with the statement that ‘these institutions, however, rarely if ever organize exhibitions on the African Continent.” Interviewees who either represented heritage institutions or spoke on behalf of donors who have supported museums and heritage institutions felt that there are numerous examples of international museums linked to African museums and galleries that present exhibitions of significance.
• Four (4) respondents disagreed with the statement that “A fundamental problem in this regard is the institution of the “museum” itself. The museum such as it exists in most places today is a construct born of a specific time and location; 18 Century Europe. Now, as two hundred and fifty years ago, it serves to disseminate a distinctly European approach to history, culture, aesthetics and viewer-ship.” Respondents pointed out that the statement did not take cognisance of the many instances where new methodologies and exemplary practices are challenging reactionary constructs in the museum and curatorial environment.   Further investigation into and due recognition should be given to the initiatives taking place in South Africa, Africa and the rest of the world, such as for example, The District Six Museum in Cape Town and the Swedish/Africa Museum Project (SAMP). SAMP is an ongoing exchange programme  funded by the Swedish Government and executed in partnership with African government departments of arts and culture. It brings together on an annual basis museum practitioners from Sweden and Africa to share ideas, practise and methodology.
• Six (6) respondents challenged the notion that ‘No such entity exists anywhere in the world today: the Africa Centre will be the first.” Some saw this as a somewhat overstated statement. Others perceived it as simply untrue.
• One respondent questioned whether the Africa Centre would ever be able to honour its promised vision. The documents claim that the Africa Centre is set apart from other initiatives by its committed aim to include the visual, performing and cultural art of the entire continent of Africa, North and South, both ancient and contemporary.
• The weakness of the promised vision lies in the promise for simultaneous delivery of all these areas of concern. A few respondents argued that many progressive institutions both in Africa and America rely on a holistic point of departure and develop different projects with different foci which emerge over time. The paper was interpreted as saying that what was  being promised was an institute so grand in vision, so vast in scope, so wealthy and so well resourced that by virtue of its size and scope of programme there would be no other like it in the world.

QUESTION 4

Is it valid to believe that Africa, for its own sake, needs to explore different ways of presenting, showing, exploring and thinking about its own culture, its art and its own systems and bodies of knowledge? Yes or No? Would you motivate your response?

The responses could be generally categorized as follows:

• Respondents felt that Africa needed to assume a leadership role in respect of its artistic and cultural future. They agreed that for too long the leadership role had been assumed by individuals and institutions from Europe and America.
• Respondents also felt that it was a great pity that there was an exodus of talented and successful artists and cultural workers to more lucrative prospects abroad. The Africa Centre needed to take responsibility to avert this trend and establish initiatives, markets and audiences on the continent able to sustain African artists.
• Respondents welcomed the fact that the Centre was committed to developing a new African leadership within the museum sector by promoting the training of museum curators and specialists. Several respondents felt that this would challenge the existing leadership and begin significant transformation of the museum sector. Those respondents from within the museum environment commented that at present, entry into the museum sector was limited and that opportunities for furthering  careers within the sector do not exist. In this context the Africa Centre has targeted a critical need for developing programmes geared toward the transformation of leadership, on-going education and providing a career-path within the museum sector.
• Respondents who were curators at private galleries felt that there was an urgent need to build the skills required for curating exhibitions within private galleries and collections. Young curators need to develop a nuanced understanding of the local and international markets, gain experience in valuing and pricing art, acquire practice in  the conservation and management of art works, and develop an “eye” for artists and works.
• Three (3) respondents noted that in South Africa the buying and selling of works of art remained the domain of predominantly white South Africans.
• There was a need to find creative ways of encouraging black people (both buyers and sellers) to become involved in the business of Art.   Individuals, groups or institutions should be assisted in understanding the global arts market and encouraged to invest in the arts, culture and the heritage of Africa.

QUESTION 5

In our document we have taken a very specific approach to the programmatic content of the Centre’s work. Much of the foundation work is exploring and opening dialogues about complex issues relating to the future programme of the centre. At least the first two years is about talking to many people, canvassing views and opinions and then using these findings as a guide to future practice.  What do you think of this approach?  Is it a good or bad approach?   What do you think are its weaknesses and strengths if any?

The responses could be generally categorized as follows:

• Respondents appreciated our consultative approach. Interviewees felt that the approach was thorough and well considered and would provide a breadth and depth of viewpoints to inform the future deliberations concerning the Africa Centre.
• Most respondents remarked on the positive signal that was being sent by engaging with stakeholders prior to implementation. They felt that this would give a significant number of people an opportunity to contribute to the conceptual stages of the project and provide a measure of safety to the custodians that the project priorities will reflect the true needs of the sector.
• One of the weaknesses cited by thee (3) respondents was that it was not easy to gauge the extent of influence that respondents have in affecting final outcomes. The canvassing of opinions and viewpoints was commendable, but it was unclear how the information gathered would affect final decisions. A linked question was that of where final authority rested in the decision making process.
• One respondent raised concerns about the proposed conference that would launch the Africa Centre. This respondent observed that conferences needed to be well managed in order to become springboards for action rather than ends unto themselves.  
• One respondent raised the question of the relationship between the international reference group and the interviewees in the Stakeholder Engagement Process. The respondent questioned whether the ideas of the individual respondents carried as much weight as the contributions made by the members of the international reference group. She asked whose ideas would shape what and how issues were to be discussed at the Conference and queried the relationship and power status of contributions made prior and post-Conference in determining future programme choices and practice.

 

QUESTION 6

In the documents we have raised many contentious and difficult questions, which we hope to explore and perhaps resolve. Of the many questions posed, would you choose two that are the close to your heart? They would be the two, which you consider the MOST URGENTLY in need of resolution.

For the purpose of this report, only the issues which were felt to be of critical importance or urgent as stated by the respondents are listed. They are in no specific order of priority. The most critical and urgent issues emerged as:

• What was the programmatic content of the Africa Centre going to be? This decision was most critical for the sustainable and successful future of the initiative. 
• Who or which group of people would assume the leadership of the Africa Centre in the implementation phase? The choice of this leadership will be critical to the future integrity of the Centre, and its ability to take up a leadership position.
• How will the Africa Centre overcome the difficulties associated with its chosen location? This referred to its location in Stellenbosch and in South Africa.
• How will the Africa Centre resolve the contradictions of class, representivity, inclusivity and access in the context of the Africa Centre being based at Spier.
• The danger of the “disneyfication” of African art, culture and heritage in the context of the Africa Centre being located in a prime tourist destination.
• The question of policy formulation in relation to the repatriation of African art, culture and heritage to the African continent.
• The desire for a flexible, incremental and transportable architectural solution in the context of very specific, real and physical needs of artists; both visual and performance.
• Respondents who were educationists felt that the educational and training issues were most critical to ensure that the Centre realized its aim to transform the museum milieu and feared that it could be lost within what might be perceived as more urgent and critical issues.
• The ability of the Africa Centre to secure financial sustainability for an initiative of this scope.

QUESTION 7

Are there any further questions or issues, which you think should be included in our exploration of programme content?

 

Suggestions fell into the following broad categories:

• Inclusion of community leaders – At this stage the Africa Centre has an opportunity to include members of community groups in the concept and design of the project, and participate in the leadership structure. Potential community leaders could come from a range of sectors e.g. religious leaders, teachers, sangomas, and health workers.
• HIV/AIDS – The significance and effects of the AIDS pandemic should be recognized in the work of the Africa Centre.
• Programme Material – The arts, culture and heritage of the African continent has many aspects that rest outside of the conventional view. There were suggestions that programmes should also consider exploring issues such as cosmology and hospitality rituals as they relate to African society.  In particular investigating hospitality in the light of the relationship between the Africa Centre and the Spier Estate would most likely reveal interesting dynamics.
• Research – Many respondents felt that there already exists a wealth of knowledge, practice and research in South Africa and Africa on many of the issues that the Africa Centre will focus on. A comprehensive audit would be an essential undertaking before final decisions were taken.

QUESTION 8

As a South African, what are your feelings about having such a Centre based here in Africa?

The responses could generally be categorized as follows:

• Overwhelmingly respondents welcomed the fact that the initiative would be based on their doorstep and recognized the enormous opportunities for work and artistic creation that such a dynamic and experimental centre would open up.
• Many felt proud that it might be possible to establish such an Africa-wide initiative on South African soil. Many remarked that the vision of the Centre reflected the national agenda of an African Renaissance, synergies with Nepad, the Pan African Parliament and the restoration of the library at Timbuktu, to name but a few African regeneration programmes.
• It was also repeatedly noted that on a national level, the Centre would create positive links between the major South African cities. There is also great scope for developing paths of communication and energy between urban and rural constituencies, particularly intra-continentally.

There were, however, also some cautionary responses. 

• Some interviewees pointed out the sensitivities with regard to South Africa sometimes being perceived in the role of “big-brother” in relation to the rest of Africa. South Africa has taken a strong leadership role in many economic, social and political agendas in Africa.  We will need to exercise sensitivity so as not be seen as yet another South African project assuming an inappropriately dominant role in developing  arts, culture and heritage issues on the continent.
• The nodal approach to ensure equity of participation from all countries and communities within Africa was very optimistically received. Respondents agreed that the Africa Centre intention to ensure the establishment of a solid collaborative network and to strengthen existing nodes of activity would go a long way to facilitating equitable participation. However, respondents also warned that we would need to guard against creating the perception that Cape Town and South Africa would become repositories for the stockpiling of scarce resources.

QUESTION 9

What are your feelings about having such a Centre based in Cape Town?

The responses could generally be categorized as follows:

• People from Cape Town were pleased that the initiative was going to be based in Cape Town, notwithstanding perceived sensitivities that would have to be overcome because of the location. They felt that the Africa Centre would open up fresh opportunities for artists and cultural workers in the Western Cape. Furthermore they welcomed the opportunity to engage with a project that promised exciting possibilities for innovative thinking and practice, experimentation and development of new models of re-presenting and viewing the arts, culture and heritage of Africa.
• Respondents who were not from Cape Town were not averse to its positioning in Cape Town as opposed to it being in another city in South Africa. The feeling expressed by all respondents was that they were proud that this was a South African initiative, which was taking a lead in African -continent-wide arts and cultural issues.
• There was a mixed reaction to the location of the Africa Centre at the Spier estate. Generally the responses could be summarised as follows, on the constructive side it would be well located to serve the communities of Khayelitsha, Jamestown and the Boland as well as the craft hub of Phillippi. It was noted that the proposed provincial film studio would be located only a few kilometres from the Spier Estate.

On the more challenging side, the Africa Centre would have to overcome one of the Western Cape’s chief service headaches – an ineffective public transport service.  The Spier Estate is far from the current major public transport routes.  Respondents felt that this critical issue that would have to be addressed creatively.

 

QUESTION 10

What are your feelings about having such a Centre based at Spier?

The responses to this question covered a range of issues:

• As mentioned above the difficulty of accessing the estate by public transport is a critical factor for consideration.
• The current physical layout of Spier, with its rather formidable entrance, can be daunting to communities for whom this is not a familiar space.
• The notion of Spier as a tourist destination was both an impediment and an asset and this would have to be managed.
• If the Africa Centre is to remain true to its aim of involving people from a broad range of social classes, how will this be achieved in the present context of a luxury hotel and other attractions out of the economic reach of many people?
• How is the Africa Centre going to ensure that all people irrespective of class or culture would feel comfortable and welcome?
• The danger of the “disneyfication” of African art, culture and heritage in the context of Spier as a prime tourist destination was a serious point of concern.
• Many respondents commented that the Africa Centre would benefit positively from Spier’s reputation as an estate that actively supports development, innovation and excellence in the Arts.
• The Africa Centre with a strong, progressive focus and direction could give focus to other projects on the estate.
• One respondent, an artist who had experience of the Estate, commented on the need for synchronizing the arts and culture activities on the estate; both practically and in broad policy terms.
• However, there was also room for healthy contradiction. Would projects have to align with the Centre or could Spier accommodate contradiction and diversity across its arts and culture projects? What impact would possible contradiction and diversity of other projects have on people’s perception of the Africa centre?

QUESTION 11

You may have noticed that we are keeping our options open as to what kind of space or what architectural form the centre will take? What are your opinions on this question and do you have any strong opinions about what such a building or space should look like in the future?

The responses could be generally categorized as follows:

• Respondents commented that given the architectural landscape of Spier and of the wine-land region where the historic Cape Dutch style was strongly featured, whatever was ultimately designed would needed to sit comfortably alongside the existing elements.
• The Africa Centre was again commended on the thought and introspection that was going into thinking about architectural design, functionality and aesthetics in relation to spaces of viewing, displaying and presenting arts, culture and heritage.
• Respondents were excited by the Africa Centre being open to investigating design that was flexible and adaptable rather than fixed and rigid. Performance artists commented on the ever present need for designers to bear in mind that performances and events required a certain measure of safety and security for participants.

• There were a few respondents who felt that building an “iconic” structure was a good idea, particularly if an incremental approach was adopted.

QUESTION 12

From a South African point of view are there any issues of local and national concern or interest, which you think have been overlooked and should be included for debate?

Two (2) respondents commented on the fact that the South African National Department of Arts and Culture has not, as yet, developed a policy for the visual arts in South Africa. The Visual Arts Network of South Africa is presently addressing the absence of such policy and felt that the proposed Africa Centre could play a role in the development of such policy.

Three (3) respondents commented on the new bills for Heritage Development and Resource Management, which are presently being developed by the South African National Department of Arts and Culture.  The Africa Centre could contribute to the development of such policy.

Several respondents commented on the fact that many projects existed in South Africa which were attempting to develop similar areas of focus to the Africa Centre. Many commented on the need for collaboration and the building of sound relationships with these projects.

One respondent raised the issue of including the youth, South African and African in the project. It was felt that their voices were not often given opportunity for expression and. That young adults in particular have much to say about their experience as citizens in a democratic South Africa and the place of youth on the African continent. If the Africa Centre is about identity it will have to include the vital voice and perspective of the youth.

QUESTION 13

Do you have any further points, which you wish to make, or any observations or opinions, which you would like to share?

All respondents were appreciative of being part of the Stakeholder Engagement Process. All expressed a desire to be involved in the future developments and some expressed a fear of being left behind, especially since they had become so inspired and excited by the grandness of the vision and the boldness of the proposal.

July 2005