Khanyiselani Art Studios

Isibindi Art Studios Business Plan [Type text]

2015

Khanyiselani Art Studios Business Plan Prepared by: Zupi Industries (Pty) Ltd

Khanyiselani Art Studios is a creative arts development project targeting out-of-school and unemployed youths to attract them to the creative arts industry sector. The project aims to at empower creative artists and communities from Kokstad and, more broadly, the Harry Gwala district to tell their own stories, as well as own and control communication mediums, and to participate in the mainstream entertainment industry. The vision is to build an entertainment economy that acts as a catalyst for employment creation and skills development through establishing Kokstad as a leading entertainment production and tourism destination.

of 60

"Opportunity is missed by most

people because it comes dressed in overalls and looks

like work." - Thomas Edison

of 60

1.0 Executive Summary…………………………………………………………………………..5

1.1 Objectives……………………………………………………………………………..6

1.1.1 Fighting Economic Exclusion through Creative Arts Development...6

1.2 Mission………………………………………………………………………………....7

1.3 Key to Success………………………………………………………………………..8

2.0 Project Summary………………………………………………………………………………8

2.1 Project Start-up Summary……………………………………………………………9

2.2 Company Location and Facilities……………………………………………………11

3.0 Services…………………………………………………………………………………………11

3.1 Service Description…………………………………………………………………….13

3.2 Project’s Unique Value Proposition…………………………………………………..14

3.3 Enterprise and Entrepreneurship Development…………………………………….15

3.4 Future Services…………………………………………………………………………15

4.0 Market Analysis Summary

4.1 Background on Greater Kokstad Municipality……………………………………….16

4.2 Map of Kokstad………………………………………………………………………..17

4.3 The Opportunity………………………………………………………………………18

4.4 Economic Analysis…………………………………………………………………..19

4.5 Growing the Creative Industries……………………………………………………20

4.6 Requirements for a Sustainable Creative Arts Industry in Kokstad……………21

4.7 The Three Project Success Factors………………………………………………21

4.8 Proposed Start-up Programmes for KAS………………………………………...21

4.8.1 5 Minute Film Project………………………………………………….22

4.8.2 Kokstad Film & Television Commission……………………………..22

4.8.3 Labour base Improvement Programme……………………………...22

5.0 Project Implementation Plan……………………………………………………….23

5.1 Project Management………………………………………………………...23

5.2 Project Consultants ………………………………………………………….24

5.3 Project Steering Committee…………………………………………………25

5.4 Operational Plan……………………………………………………………..26

5.5 Operational Plan – Process Flow Diagram……………………………….27

of 60

5.6 Project Steering Committee………………………………………………28

6.0 The Future of the Kokstad Music, Film and Television Production Sector….28

6.1 Kokstad as a Music, Film and Television Production and Tourism Destination..29

6.2 The Growth Imperative……………………………………………………….30

6.3 Market Segmentation…………………………………………………………31

7.0 Distribution and Exhibition……………………………………………………………30

7.1 KwaZulu-Natal Film Commission……………………………………………31

7.2 Digital Film Distribution……………………………………………………….32

7.3 Digital Screens by Operator…………………………………………………32

7.4 Number of Cinemas per Province…………………………………………..32

7.5 The DVD and Video Industry………………………………………………..33

7.6 DVD Rental Outlets…………………………………………………………..33

7.7 Provincial Spread of DVD Rental Outlets………………………………….34

7.8 South African Programming on Television………………………………..34

7.8.1 Public Broadcasting Services………………………………….34

7.8.2 e-TV………………………………………………………………35

7.8.3 DStv (Multichoice)………………………………………………35

7.8.4 Community Broadcasting Services……………………………36

7.9 Television Audience Share………………………………………………….37

7.10 Digital Migration………………………………………………………….37

8.0 Economic Contribution……………………………………………………………….37

8.1 Target Market Segment Strategy………………………………………….39

9.0 Strategy and Implementation Summary…………………………………………..39

9.1 Pricing Strategy……………………………………………………………..39

9.2 Sales Strategy………………………………………………………………40

10.0 Management Summary………………………………………………………..40

10.1 Recruitment Strategy………………………………………………….40

10.2 Financial Management ……………………………………………….41

11.0 Project Organisational Structure……………………………………………..41

11.1 Television ………………………………………………………..41

11.2 Digital Distribution…………………………………………………….43

of 60

11.3 Khanyiselani Art Studio’s Integrated Services Model………………43

11.4 Value-Chain Enterprise Development Opportunities……………………...44

11.4.1 Advertising Agencies…………………………………………………44

11.4.2 Television Commercials………………………………………………45

11.4.3 Events Management………………………………………………….45

11.4.4 Catering Services……………………………………………………..46

11.4.5 Digital Marketing………………………………………………………46

11.4.6 Beauty Services……………………………………………………….46

11.4.7 Fashion Designers…………………………………………………….47

12.0 Management Team …………………………………………………………………….47

12.1 Key Job Descriptions…………………………………………………………..47

12.2 Personnel Plan…………………………………………………………………51

12.3 KAS’s Technology and Staff Plan……………………………………………52

12.4 Skills /Roles Targeted for Development…………………………………….52

13.0 Skills Development Initiatives…………………………………………………………53

13.1 Film Education and Training in South Africa………………………………..53

13.2 The South African Qualifications Authority (SAQA)………………………..54

13.3 Sector Education Training Authorities……………………………………….54

13.4 On-the-Job Training……………………………………………………………54

13.5 Mentorship………………………………………………………………………55

13.6 Learnerships…………………………………………………………………….56

14.0 Financial Plan……………………………………………………………………………56

15.0 Conclusion………………………………………………………………………………..57

16.0 Appendix 1A................................................................................................58

17.0 Appendix 1B………………………………………………………………………………60

of 60

1. Executive Summary

Khanyiselani Art Studio is a local economic development, NGO-led initiative aimed at

drawing a significant number of unemployed Kokstad youths into productive work in the

creative arts sector. The aim of the studio is to empower independent creative artists through

the establishment of an integrated music, film and television studio at Khanyiselani Resource

Centre.

The Khanyiselani Art Studio project calls for the establishment of an integrated media studio

covering music, film and television production in Bhongweni to targeting unemployed and out

of school youths. Although Khanyiselani is the project owner, it is the youth of Kokstad that

will benefit from the facilities, equipment and support services provided by the studio.

Khanyiselani is a community centre whose role is to support social development in general

and amongst youth in particular.

Many youths who operate in the informal creative arts market, and hence do not earn a living

from their works, expressed the view that their socio-economic conditions would be

materially improved if they had access to professional production equipment, technicians

and skilled marketing agents to promote their works.

The ultimate objective of the art studio is to provide arts with professional music recording,

film and television equipment so they can enter the formal entertainment industry. Moreover,

the art studio aims to contribute substantially music, film and television production education

and skills development amongst the youth of Kokstad. Khanyiselani Art Studios will further

invest human and capital resources towards enterprise development initiatives within the

creative sector through targeted enterprise support programmes supplying goods and

services to artists and production companies operating in the creative sector – in Kokstad

and beyond.

The long term goal is for creative artists, as well as skilled and semi-skilled youths, to take

advantage of opportunities within the creative sector. The Khanyiselani Arts Studios’

intention is to advances the spirit of entrepreneurship, community-led employment

generation initiatives and utilizing innovation to add value to economy of South Africa.

of 60

To fund the studio’s development, Khanyiselani plans to engage all three spheres of

government, as the initiative has the potential to provide employment opportunities and skills

development to the unemployed in general, and youths in particular.

1.1. Objectives

Khanyiselani Art Studios’ founding objectives are:

Develop an integrated music, film and television production studio;

Establish a thriving creative arts industry in Kokstad and Harry Gwala; and

Promote entrepreneurship amongst unemployed and out-of-school youths.

1.1.1. Fighting Economic Exclusion through Creative Arts Development

In a country like South Africa, where there are significant challenges of

unemployment, poverty and inequality, it is critical to understand the nature and

extent of barriers to entry in the economy, in order to ensure that progressive steps

are taken to systematically remove these barriers and equip our people with

economic participation tools.

Today, across the private and public sectors, the possession of a post basic

education qualification is increasingly being listed as a requirement for employment.

This is true across all industries and sectors of the South African economy, and this

poses a great challenge for all development agencies and government. The history

exclusion of the black majority from quality education and the spatial dislocation of

millions in the homelands mean that South African citizens lack some of the basic

skills and expertise required by the globalized economic systems.

The Khanyiselani Studios initiative is truly innovative in its approach. The studio aims

to tap existing skills, creative arts, to drive the sustainable development of small

business enterprises supplying goods and services into a thriving local creative

industry that provides employment to skilled, semi-skilled and unskilled workers

across the value chain.

Moreover, youths can easily acquire the skills from existing musicians, producers,

cinematographers, graphic designers and other expertise through undergoing

apprenticeships with experienced entrepreneurs already operating successfully in

of 60

these fields. Should a small business or group of youths decide to acquire formal

qualifications, the board of Khanyiselani Centre and the managers of the studio will

organize the writing of trade tests by these apprentices to assist them acquire formal

qualifications

The socio-economic demographics of the youth in Kokstad reflect the demographics

of the youth in KwaZulu-Natal as a whole. The town has high incidences of child

headed households, high basic education drop-out rates and a disproportionately

high, relative to the national average, adult illiteracy rate. All of these combine to

create a vicious poverty cycle which, when left unchecked, becomes

intergenerational with the children facing the same or worse socio-economic

conditions as those faced by their parents.

These challenges manifest themselves most in social ills afflicting the community,

and the townships of Bhongweni, Horseshoe, Bambayi, Shayamoya, Franklin and

Swartberg in general, and youths in particular.

The occurrence of high numbers of poor households, particularly child headed,

orphaned and single parent households, means that many youths are unable to

leave the area to pursue economic opportunities outside Kokstad because many

have to support their families who rely on them for financial resources and survival.

1.2. Mission

Khanyiselani’s Art Studio’s (KAS) mission is to offer unemployed and out-of-school

youths a second chance at developing the skills necessary to join the formal economy

through facilitating the establishment of a local creative arts industry. The studio will

accomplish this by providing the youth of Bhongweni, Horseshoe, Shayamoya, Bambayi

and other township youths with access to professional music, film and television

production equipment and facilitates at the Khanyiselani Resource Centre.

Furthermore, KAS plans to target youth-owned entrepreneurs supplying products and

services to independent artists’, groups and production companies for enterprise

development support services. The projects aims to assist young entrepreneurs formally

of 60

register their enterprises, so they run their businesses professionally and receive

business development support.

1.3. Key to Success

The key to the success of the Khanyiselani Art Studio are:

Professional music, film and television production equipment and facilities;

Management possessing excellent production skills and experience;

Leveraging clustering of music, film and television production into one site to

reduce costs, improve sharing and promoting collaboration.

Investing in building the capacity of the local informal sector entertainment

industry through education and skills development, enterprise and artist

development programmes.

2. Project Summary

Khanyiselani Art Studios is a green field creative industry development project proposed to

be established at the Khanyiselani Resource Centre. The Khanyiselani Resource Centre is

an established non-government organization that is based in Bhongweni Township, Kokstad

and has been operating for over a decade.

Kokstad town has many unique and attractive qualities, with easy access to social facilities

and shops, and strong links to nature and the surrounding farmland. However, it is spatially

and socially fragmented with disparities between the ‘old’ settlements and the newer housing

projects developed after 1994 as part of government’s Reconstruction and Development

Programme. The second group experiences challenges in securing employment or any

sustainable forms income generating forms of economic activity. This is caused by a

confluence of issues but can mainly be attributed to the high percentage of unskilled labour

amongst both adults and youths.

Kokstad town has attractive prospects for economic growth given the town’s unique spatial

location. The tourism sector has the potential to be one of the highest non-state sector

employers and contribute to local economic growth and attract investment into other sectors

of industry.

of 60

However, and notwithstanding these opportunities, the tourism sector underperforms and is

spatially dislocated from the poorest communities’ of Kokstad. Private tourism

establishments are able to attract game, hunting and sport event tourists but the benefits of

these initiatives do not directly benefit the poorest communities. Given that the government

has identified South Africa’s primary obstacles to socio-economic transformation as

unemployment, poverty and inequality, the town of Kokstad is compelled to develop

development and growth strategies that benefit more people and remove barriers to enter

the mainstream economy.

The establishment of a local creative arts industry is seen as a potential solution to the

distorted economic development patterns of the past. This is because of the low barriers to

entry for unskilled, semi-skilled and unemployed graduates with creative skills to be able to

establish businesses and supply products and services into the production companies.

The Khanyiselani Art Studios project is unique in that it acts as an incubator of art and non-

art related enterprises. The studio will promote opportunities for entrepreneurs in various

sectors and industries that require whatever skills unemployed and under-employed youths

possess. Moreover, the studio will also engage government and private training providers on

education and skills development opportunities relevant to creative arts in general and

enterprise development in particular.

Therefore the studio will not function exclusively to promote, produce and distribute

entertainment content. Beyond the core function of the studio, many more opportunities will

be unlocked for youths to partake in formal economic development and participation

initiatives. The National Development Plan calls for the creation of 11 million jobs by 2030,

with small businesses contributing the majority. In order to reach this target, all development

agencies and organization need to prioritise entrepreneurship development.

2.1. Project Start-up Summary

The total start-up expense (including professional fees, studio design and other

expenses) comes to R 1,882,891. Start-up assets required include music recording

studio, and film and television production equipment worth studio and related equipment

of 60

worth R 1,083,980 and professional fees (project conception, business plan development

and project implementation) of R 182,960.

2.1.1 Table: Project Funding for Khanyiselani Art Studio

Requirements Cost

Software products R 43,667

IT Equipment & Installation R 68,335

Stationery R 12,560

Marketing (incl. Website & Signage) R 37,858

Office & Studio Furniture R 45,790

Studio Fittings R 173,660

Electrical Works R 126,340

Electrical Appliances & Accessories R 78,216

Legal R 29,525

Professional Fees R 182,960

Music recording studio1 R 635,000

Film & Television equipment2 R 599,510

Total Project Start-up Expenses R 2,033,421

Proportional Representation of Expense Items

1 See Appendix 1Afor full list of music recording studio equipment.

2 See Appendix 1B for full film and television equipment list.

Project Start-up Costs

Stationary

Marketing

Office Furniture

Studio Fittings

of 60

Film and television equipment is the single largest expense item, followed by the music

recording studio, studio fitting, professional fees, office furniture, stationery, marketing and

legal expenses.

The Khanyiselani Resource Centre is the project owner. The centre will own, operate,

manages and maintain the art studio for the benefit of Kokstad’s youth involved in the

creative arts industry.

2.2. Company Location and Facilities

The art studios will be situated on the Khanyiselani Resource Centre offices, in

Bhongweni Township, which is a 5 minute drive from the Kokstad CBD.

The facilities of the studio will feature:

1. Professional Music Recording Studio;

2. Film and Television Production Equipment; and

3. Post-Production Editing Room – for film and television productions.

3. Services

Khanyiselani Art Studio will provide professional music, film and television production

services at low prices to the youths of Kokstad. The studio will also provide lessons to

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

Total Project Expenses

Film and TelevisionEquipment

Music Studio

Professional Fees

Legal

Studio Fittings

Office Furniture

Marketing

Stationery

of 60

out-of-school youths on how to use the studio’s equipment and facilities to generate

oncome generating activities.

In developing the arts in Kokstad and develop entrepreneurs in the entertainment and

creative arts industries. Zupi Industries, a specialist fundraising consultancy, was

mandated to prepare this business plan document so to create a vibrant local creative

arts media production economy. Khanyiselani is a non-governmental organisation based

in Kokstad focused on supporting community based workers, orphaned children and out

of school youths.

From creative jobs and youth entrepreneurs supplying services and products to the

music, film and television productions at Khanyiselani Art Studio, the vision is to make

the youth of Kokstad and beyond recognise and take full advantage of opportunities in

the creative industries. The studio will act as an incubator of critically acclaimed

musicians, television and film producers, directors and art directors.

Moreover, the development of a thriving television and film production industry in

Kokstad is expected to yield additional opportunities in the areas of entertainment

tourism, as the locations of the region will be featured prominently in television and film

productions.

Khanyiselani Art Studios is a creative arts movement that will owned by the youth of

Kokstad, the primary role of Khanyiselani Community Centre is to facilitate the

establishment of the basic infrastructure, maintain the facility and coordinate enterprise

development and skills development initiatives to build capacity of creative artists to

empower them to earn sustainable income from their talents.

The East Griqualand landscapes, people and way of life will appear on televisions, movie

screens and on digital devices the world over. Fans of Kokstad productions will boost

tourism in pursuit of an “authentic prairie” experience. The work of Kokstad film crews

and technicians will grace the credits of film viewed in leading international film festivals

and extract addition investment into the local film and television production industry.

of 60

Khanyiselani Art Studio as a socio-economic development initiative was conceived as

strategy to build infrastructure for creative artists on the one hand, and to promote

entrepreneurship development on the other. The board of Khanyiselani sort a solution

some of the issues afflicting Township communities’ within Kokstad.

The Arts was chosen for its closeness and relevance to young audiences, as well as for

its ability to attract out of school and unemployed youths into the productive economy. To

achieve this grand vision of moving the Townships of Kokstad forward requires the

development of shared socio-economic goals that are meaningful to the people of our

communities and that have a direct impact on decreasing the high levels of

unemployment amongst the youth.

At the core, the over-arching socio-economic development goal of the Khanyiselani Art

Studios is to foster resilience and agility in the face of high levels of unemployment,

HIV/AIDS and number of unskilled youths and adults within the community of Kokstad

and more generally within our Harry Gwala district municipality. The strategies and plans

contained in this business plan are intended to create a solid foundation for the radical

transformation of the livelihoods of ordinary members of our community and breaking

through the barriers of economic exclusion in all its manifestations for an equal and

prosperous community.

3.1. Service Description

The Khanyiselani Art Studio initiative is meant to provide crucial infrastructure to the

youth of Kokstad, and Harry Gwala district, to enable them to produce professional

music, film and television productions. The project owner, Khanyiselani Resource

Centre, is in the process of seeking grant funding to fund the project as a youth-focused

creative arts and enterprise development project.

3.2. Project’s Unique Value Proposition

Unique to Kokstad, the studio will develop creative industry education, skills, enterprise

and supply-chain development programmes that aim to integrate unemployed and out-

of-school youths into the formal economy.

of 60

KAS is structured as a creative arts-focused incubator programme that will empower

youths to take the charge of their lives through guiding them to innovative income

generating opportunities within the creative industries.

3.3. Enterprise and Entrepreneurship Development

Khanyiselani Art Studios is a broad enterprise and economic development project aimed

at building the capacity of independent artists and assisting entrepreneurs operating

within the creative arts to establish sustainable livelihoods through facilitating the

development of a vibrant entertainment economy within Kokstad – as well as throughout

the Harry Gwala district.

Moreover, Khanyiselani will provide an environment where artists and local

entertainment entrepreneurs will receive critical training and skills development support

to ensure that they remain nationally competitive through providing them with a well

capacitated media development, promotion and distribution infrastructure that can be

used by all the youths of the district.

The Khanyiselani recording studio main thrust is to create an environment where

independent creative artists are able to earn sustainable incomes and lead dignified lives

from their work as artists. The Khanyiselani Centre recognises, and deals on a daily

basis with, the many social ills affecting the communities of Bhongweni, Shayamoya,

Horseshoe, Bambayi, Franklin and many other townships throughout the district. The

vision of the art studio is to empower out of school and unemployed youths through

building an entertainment economy in the district around the creative arts.

Through our research, we have identified then following opportunities within the creative

arts industries:

Licensing of locally based music, video and film entertainment content ;

Developing a strong distribution network for various music, film and dramatic art

genres to ensure that our artists’ entertainment is highly sought after within their

respective markets;

of 60

Augment these solutions with highly targeted campaigns aimed at promoting the

local entertainment industry in South Africa and positioning Kokstad as a highly-

competitive entertainment tourism destination.

The Khanyiselani Resource Centre board believes these are the more urgent capacity

issues which need to be addressed to provide a supportive environment for existing

independent artists. Furthermore, the initiative will have a much broader positive social

and economic development impact for the local and regional economy through building

Kokstad as a progressive entertainment content production destination in South Africa.

Research further points to boundless opportunities for both creative artists as well as

unemployed graduates, unskilled workers and other service industries within Kokstad

that stand to benefit from a more prosperous entertainment industry in Kokstad. The

benefits of a thriving music, television and film production town are shared by other

sectors of economy through the supply of labour, products and services to musicians,

production crews, film companies and distributors.

It is also clear that Kokstad, and the broader Harry Gwala district in general, possesses

great depth of talent and as demonstrated by the sheer number of high-calibre artists’

living within the Kokstad and the Harry Gwala district.

Therefore, and in keeping with Khanyiselani’s founding mission, we are committed to

working with all social partners to ensure that an environment is created to ensure that

Kokstad becomes a nationally recognised creative arts production destination.

As an organisation, Khanyiselani is very clear on how it aims to accomplish these bold

targets. This business plan provides some of the financial, production and marketing

resources the centre needs to bring us closer to our mission of building a sustainable

entertainment industry in Kokstad for current and future generations of creative artists’.

3.4. Future Services

In the future, KAS will apply to the Department of Higher Education & Training to become

an accredited trainer with the ICT and Motion Picture SETAs. It is important that skills

of 60

within the creative industry are prioritized and community development organizations

lead the charge in being accredited as training providers.

Furthermore, in future KAS will promote the services of Kokstad-based graphic

designers, musicians, film and television production crews and other enterprises relevant

to the creative industry. This part of KAS’s vision of promoting Kokstad a leading

entertainment production and tourism destination by 2030.

4. Market Analysis Summary

KAS will focus on promoting the economic, social and personal development opportunities

available to young people who pursue careers in the creative arts. The plan calls for the

targeting all artists and for the arts to be used to combat some of the many social ills

afflicting Kokstad.

4.1. Background on Greater Kokstad Municipality

Greater Kokstad Municipality is located to the South western tip of KwaZulu-Natal

Province. The municipality is bordered by Matatiele Local Municipality and Lesotho to the

West, KwaSani Local Municipality to the North, Umziwabantu Local Municipality to the

South East and Umzimvubu Local Municipality (Eastern Cape Province) to the East. The

N2 traverses the municipality linking KwaZulu- Natal with the Eastern Cape Province.

Greater Kokstad Municipality has three urban nodes – Kokstad town, Swartberg and

Franklin. Kokstad town is the major economic centre due to its strategic location in terms

of transport network, economic and administrative activities. The national route (N2) links

the area to the major economic nodes such as Port Shepstone and Durban in the

KwaZulu Natal Province and Mthatha in the Eastern Cape Province. The R56 links

Kokstad to Ixopo and Pietermaritzburg. The strategic location of Kokstad creates

opportunities for economic growth.

The Khanyiselani Art Studios will be located in Bhongweni Township which is situated

just south of the Kokstad town CBD across the river. The Greater Kokstad municipality

has eight (8) wards; the project will be located in ward 8. The Khanyiselani Art Studio will

share the premises with its mother body, the Khanyiselani Community Centre. The

centre is located within a 500 m radius of Carl Malcomas Secondary School (grade 6-

of 60

12), itself across the road from Xolo Xolo Senior Primary School (grade 5-7) and Kokstad

Public Primary (grade R-4)

Kokstad’s population is relatively young with 87% of the population below the age of 39.

The majority of the economically active population falls within the youth category; aged

14-35 which coincidentally experiences disproportionately bares high burden

unemployment.

The studio will generate creative industry jobs and retain youth through increased

employment; it will attract high-profile projects with a need for Kokstad’s goods and

services, all of which contributes to the building of Kokstad’s national brand. Other

positive contributions include the cultivation of indigenous storytellers and the fostering of

a culture of innovation and entrepreneurialism. The sector’s performance will help to

define a town that makes citizens of the province and the nation proud.

Notwithstanding these opportunities, the sector faces challenges in developing the

industry which requires clear planning and the development of the requisite infrastructure

to meet the standards of a modern creative industry.

4.2. Map of Kokstad

Source: Google Maps

of 60

4.3. The Opportunity

Given Kokstad’s strategic spatial location, the town continues to hold great promise as

an entertainment production and tourism destination. The region enjoys unique tourism

assets that can be leveraged by a thriving local film and television industry to attract

more tourists to visit these unique attractions as well as to witness the filming of film and

television productions in Kokstad.

Currently, Kokstad a well-developed tourism accommodation infrastructure as a result of

investments made ahead of the 2010 FIFA World held in South Africa. Therefore, the

studio will be in constant engagement with the Kokstad Tourism Organisation about

investigating areas of mutual interest going forward.

The challenge with this opportunity is that many township youths in Kokstad are unable

to take advantage of opportunities in the creative industries sector because they do not

possess sufficient education, skills and lack the basic infrastructure to participate.

Many youths come from poor backgrounds and are thus unable to afford the expensive

professional music and videography equipment required to start out as independent

musicians, film makers and other media related enterprises.

The Khanyiselani initiative aims to build the infrastructure and then subsequently embark

on a concerted effort to promote the creative industries as an alternative to seeking

employment, encourage skilled entrepreneurs to take advantage of entrepreneurial

opportunities within the space and facilitate education and skills development amongst

participants who want to acquire formal qualifications.

It was from this backdrop that the Khanyiselani Community Centre in Bhongweni, one of

the poorest townships in Kokstad, decided to embark upon a project to identify youths

from disadvantaged backgrounds to be given an opportunity to pursue career and

entrepreneurship opportunities within the entertainment and media industry.

of 60

Map courtesy of Google Maps

4.4. Economic Analysis

The area has three potential economic growth pillars, Tourism, Agriculture and Industrial

and Manufacturing. Agricultural production is the most popular compared to the other

pillars. This is evident from land coverage assessment in the area which shows that the

highest land utilisation is agriculture. In addition to these sectors, entertainment tourism

has the greatest potential for growth going forward. However, to realise this growth

potential, there needs to investment in entertainment production, the development of

uniquely local entertainment assets and for the town to be positioned as the foremost

music, film and television production and tourism region in KwaZulu-Natal outside of

Durban.

The foundation of this vision lie in the diverse creative artistic talents which are available

in Kokstad, a reflection of the diverse groups and cultures residing in Kokstad in line with

the historical development of Kokstad as a town of migrants from all directions, races

and cultures.

Beyond the building the capacity of the local music, film and television creative

industries, Kokstad is facing challenges in terms unemployment and highly dependent on

the state for the provision of employment, social and basic services. The board of

Khanyiselani articulated that they have a vision of Kokstad as a progressive destination

of 60

in South Africa that produces entrepreneurs in all sectors of the economy and a youth

that is pioneering in the creative arts and beyond.

Kokstad town’s regional service status is well established. However, and in the face of

ever increasing emigration from surrounding rural areas, it is imperative that local

economic development programmes targeting youths be established to reduce social ills,

criminality and build social cohesion amongst the diverse groups residing in Kokstad.

The Khanyiselani Art Studio project looks to pioneer new sectors and industries that can

be promoted to youths who are self-starters and motivated to become their own

liberators.

4.5. Growing the Creative Industries

Kokstad-based producers have the potential to attract tens of hundreds of thousands of

rands of regional and national investment to the Harry Gwala district every year. The

goal is to attract 90% of music, film and television production funding from outside the

Harry Gwala district. This requires Kokstad producers to be promoted across South

Africa for their work to be recognised on the national entertainment map. The local

production sector must further develop cost-competiveness and develop a unique set of

skills that can be used by non-Kokstad production houses that would be attracted by

Kokstad’s unique geographic location and a highly-competent base of technicians,

producers and crews.

However, long-term success in film and television production is increasingly a function of

the ability to maximise the sales of a local copy-righted content with high quality

production values and strong authentic stories. Production development timeframes can

be rationalised through increasing investment in integrated studios such as Khanyiselani

Art Studios, where there is an easy cross-pollination of production talent and expertise.

Such a strategy will increase the competitiveness of Kokstad music, film and television

productions in the national entertainment market. Moreover, an integrated production

value-chain allows producers to work collaboratively to secure investment from diverse

sources as well as motivate each other to improve their business management practices.

of 60

4.6. Requirements for a Sustainable Creative Arts Industry in Kokstad

The predominant strength of the creative industry sector is the existence of what has

been described as the “three success factors”.

Khanyiselani Art Studios;

High quality content produced by independent artists; and

Enterprise Development

4.7. The Three Project Success Factors

Each success factor is integral to the sustainability of the sector and each has areas where

improvements can be made or new ideas can be implemented. Within each factor, there

needs to be a clear strategy to take the creative arts to the next level.

This business plan prioritises the development of these three factors and proposes

strategies that can be implemented by the studio’s management ensure the project attains

its mission and objectives.

4.8. Proposed Start-up Programmes for KAS

4.8.1. 5 Minute Film Project

Enterprise Development

Independent Artists

Khanyiselani Art Studios

of 60

Initiate a competition at schools where students are asked to use their cell

phones to produce a 5 minute film.

The winning film in each school will be awarded a R1000 as well as being

given the opportunity to write and direct a 35 minute short film project with the

assistance of Khanyiselani Art Studios.

The aim of this project is to promote the film production amongst youths and

to promote the services offered at the studio to school-going teenagers.

The Khanyiselani board wants to see even high school students being

actively involved in music, film and television productions.

4.8.2. Kokstad Film & Television Commission

Lobby for policies, by-laws and incentives to make film and television

productions competitive with other towns and cities in South Africa.

Represent all film and television producers in government and other

structures.

Be composed of local film and television producers/production houses.

Examine opportunities to advance the sector in Kokstad and beyond.

Explore post production, animation and digital media outsourcing

opportunities with other major film and television producers/production

houses from across South Africa.

Continue monitoring, assessing and marketing Khanyiselani’s competitive

position

4.8.3. Labour base Improvement Programme

Increase training and career development opportunities through collaborative

partnerships with educational institutions, unions, guilds and Motion picture

SETA

Expand business and management training for producer, artists and

designers.

Continuous local industry labour base education and skills development.

Expand access to information through free broadband-enabled e-learning

programmes.

of 60

Equip local artists, musicians, designers, marketers and producers on

project/production budgeting to develop programming of high quality output.

5. Project Implementation Plan

The project will be built at the Khanyiselani Community Centre in Bhongweni

Township, which is centrally located and easily accessible to the youths of

Bhongweni, Horseshoe, Bambayi and other townships via the main road from

Kokstad CBD. Furthermore, Khanyiselani has a history of conducting arts

development initiatives on their premises. They had to cease these activities

however, when they had to create space for an Early-Childhood Development

Centre.

The project has a budget of R 2,033,421.

The project calls for:

The establishment of a music recording studio;

Building of a television editing and production room;

The acquisition of mobile film and television production equipment;

Training of managers to handle technical equipment;

Purchase and installation of film and television equipment storage units; and

Entrepreneurship development programmes targeting young people.

5.1. Project Management

The project will be managed by the board of Khanyiselani, with the board

delegating specific tasks and activities to the project coordinator and lead

consultant, Zupi Industries, until the art studio is fully established at which point a

permanent executive team will be appointed by the board to conduct the day-to-

day operation of the studio.

of 60

It is envisaged that once funding has been approved for the project, the

Khanyiselani board, at a sitting after securing approval, select a project steering

committee. The steering committee with be composed of 3 people, with the

project Coordinator as an ex officio member with no voting or decision making

rights.

It was determined prudent to allow the steering committee to direct the process

because it is a representative structure and is elected by members of the War

Room who know the needs of their community. The steering committee is

empowered to make financial, candidate selection and other operational

decisions after consulting with the project coordinator and the appointed service

provider that are in the best interests on the Khanyiselani Community Centre as

part of its normal course of business.

5.2. Project Consultants

The project Consultants, led by Mr Ntuthuzelo Mdledle, is only serving in the role

of coordinator. Mr Mdledle is the managing director of the project’s fundraising

consultants, Zupi Industries, and is a resident of Kokstad that has been placed in

charge of championing the project and securing funding for the studio.

In addition to function and tasks delegated to the consultant by the board, the

coordinator will also be responsible for preparing reports for project funders and

keeping detailed records of all financial transactions.

It will be the responsibility of the coordinator to:

Prepare a business plan.

Brief and update the board on project status.

Review performance of the steering committee.

of 60

Draft finalised terms of reference to appoint service providers as well as

assist the board assess suppliers of equipment and in appointing

managers of the completed studio.

Interact with service provider on issues of non-contract nature.

Prepare service level agreement for signing by the service provider.

Oversee compliance of the service to the terms of reference.

Liaise with all stakeholders to ensure smooth implementation of the

project.

Prepare and present reports to project funders as and when requested.

5.3. Project Steering Committee

Between board meetings, the project steering will be the supreme decision-

making body. After considering the submissions by board members’, the project

coordinator and any representations that might be made by any of the project

funders, the steering committee will select draft appoint a service provider/s and

suppliers of equipment after a normal competitive process – to be determined by

the board and in line with conditions set by project funders.

It is very important to note that the project budget is a close estimate to establish

feasibility, the final cost will not exceed R 1,882,891 and all service providers and

suppliers will have to deliver within this budget limit.

In addition, the project steering committee, working with the project coordinator

will be responsible for vetting service providers and suppliers to ensure they meet

all requirements, deliver under budget and up standard.

The Khanyiselani board is committed the community of Kokstad and has

successfully bringing about social support programmes such as home based

care, foster care services and feeding teenagers from poor households, the

studio will managed applying the values of Ubuntu and community.

of 60

The project aims to reduce employment amongst the youth, increase the

economic value add within the local creative industry and contribute towards the

creation of downstream jobs and enterprise opportunities.

Moreover, the project also hopes to launch the careers of many local artists. The

infrastructure that will be built at Khanyiselani Community Centre is meant to

benefit all the residents of Kokstad and, more broadly, the youth of the Harry

Gwala District.

5.4. Operational Plan

In previous years, Khanyiselani Community Centre hosted various art exhibit and

training programmes on its premises. However, due to the growth of the centres

Early Childhood Development centre, management and the board were forced to

cancel the music, drama and poetry activities that took place in the hall.

The reputation of the centre is well known amongst creative artists in the town of

Kokstad and succeeded in producing some of the town’s most prominent poets,

musicians, actors and dancers. This proud tradition will be the foundation on

which the new Khanyiselani Art Studios will be built for an even brighter future for

the next generation of creative artists and entrepreneurs’.

The goal is to empower youths with the basic infrastructure for them to be able to

produce world-class entertainment content and be able to build sustainable

livelihoods for themselves and their families.

The project coordinator will submit periodic progress reports to the War Room Steering,

project funders and the War Room. This is important in that the entire War Room has a

direct interest in seeing this project become a success and beneficiaries be assisted to

meet the project’s outcomes. These reports will be guided by the set operational plan

and be measured against targets set by the Steering Committee.

of 60

5.5. Operational Plan – Process Flow Diagram

Project Process Flow

Appoint Project Coordinator/Consultant

This is the first step, a consultant has to be

appointed to prepare the project business

plan, champion the project and fundraise for

project.

Review the Business Plan

The Khanyiselani board will review the

business plan, consider all presentations by

consultant and stakeholders and determine a

way forward. The steering committee will

make the final decision as to whether the

project should go ahead, based on its

assessment of the findings contained in the

business plan.

Appoint Service Provider/Suppliers Service Providers and suppliers be

appointed by the steering committee based

on submission by at least three competing

bids

Appoint Project

Coordinator

•To Produce

Business Plan

•Raising

Project

Funding

Review Business

Plan

•Determine feasibility

& scope of project

Appoint Service

Provider/Suppliers

•Coordinator to submits

quotation and

recommendatios to board

of 60

The project steering committee, in consultation with the project coordinator, will

manage most aspects of the operational plan. Whereas the coordinator is in

charge of the smooth implementation of the operational plan and meeting of all

project goals, the steering committee makes all of the major strategy, contractual

and other executive decisions. The board will receive and consider reports

submitted by the project coordinator who will also produce reports for project

funders to track progress and evaluate performance against funding agreement

terms.

5.6. Project Steering Committee

6. The Future of the Kokstad Music, Film and Television Production Sector

The global economic downturn and the fundamental shifts in film/TV production sector sales

and distribution trends will challenge Kokstad producers’ ability to maintain a consistent

output of high quality music, film and television productions.

In order to maintain global competiveness, KAS’s crop of artists and content producers will

have to strike a balance between consumers’ preference for high-budget blockbusters, and

the growing demand for local music, film and television productions.

Chairman

Member 1

Member 2

Coordinator

Ex Officio Steering Committee

3 Members + 1

Coordinator

of 60

In addition, the local industry’s competitiveness has to ensure that Kokstad production

companies capture a larger share of a weakening market that characterises the current

economic downturn.

However, in spite of the effects of the recession, the economic structure of the film/TV

production sector is sound; and Kokstad producers will have adequate opportunities to prove

their resilience.

Members of Kokstad’s Film and Television Commission will continually evaluate strengths,

weaknesses and levels of competitiveness of the sector while planning for continued

success.

After a thorough process of consultation, evaluation and strategic analysis, the Kokstad Film

and Television Commission should produce a Production Sector Plan that provides insights

and suggestions on how stakeholders can jointly move forward and continue to grow the

sector.

6.1. Kokstad as a Music, Film and Television Production and Tourism Destination

Khanyiselani Art Studios is committed, as a social development organisation from

Kokstad to:

Contribute to the building a globally competitive town investing on enterprise

development initiatives.

Providing the right basic support, service, media production infrastructure.

Utilising work and skills programmes to promote economic inclusion amongst

unemployed and out of school youths.

Leveraging the creative sector to develop downstream SMEs supplying goods and

services to a thriving local media industry.

Broadening economic participation to marginalised communities and the poorest of

the poor for an equal and socially cohesive Kokstad by 2030.

of 60

6.2. The Growth Imperative

This requires that the town of Kokstad shifts gears and prioritises the creative sector as a

core strategic focus area, particularly the town’s Integrated Development Plan (IDP).

Until now, few small municipalities and towns have recognised the potential of

developing the creative arts to combat the triple challenges of unemployment, inequality

and poverty.

Over the past few years, and in the face of increasing migration patterns into Kokstad,

the town has focussed its attention on immediate service delivery issues and on

improving its own institutional processes and functions. The economy remained the

domain of a relatively small, and under-resourced, department and a few external

agencies, which led to and approach to economic development that was fragmented,

parochial and unambitious.

6.3. Market Segmentation

KAS will be focusing on unemployed, out-school and ox-offender youths residing in the

Greater Kokstad Local and Harry Gwala District municipalities. The age group is fourteen

(14) to thirty-five (35) years.

7. Distribution and Exhibition

Distribution and exhibition in South Africa is widely dominated by foreign products. The

Hollywood distribution model continues to have a stronghold in markets across the world,

with 50% of its revenue generated outside the United States. The local industry consists of

three major players – Ster-Kinekor, Nu-Metro and United International Pictures (UIP) – and a

few independents that have a small share of the market. Local filmmakers are quite unable

to compete with this overpowering foreign competition owing to the largely production-led

nature of our industry, which dedicates very low budgets to distributing and marketing films

to a potentially large film audience3.

3 Dearham, M. Film and Democracy in South Africa (2001). Available: www.fru.co.za accessed on 19th February 2007.

of 60

7.1. KwaZulu-Natal Film Commission

The KwaZulu-Natal Film Commission (KZNFC) was set to be established in 2005 to

promote and develop the film industry in Durban and KwaZulu-Natal.

It is meant to operate both as a specialist agency marketing and promoting the region as

a destination for local and international filmmakers, and as a regional trade

association/networking body for the industry. 49 The goal of the Commission was to

open up the global film industry market to the KZN region by creating 5 000 new jobs

and 30 new business enterprise by 2008, thereby reinforcing economic growth, social

stability, black enterprise development and skills upliftment for the province.

The Durban Film Office established in October 2003 by eThekwini Municipality is

responsible for film-related interests of the Metropolis.

The office is the official advocate for the feature films, television, video, commercial and

stills photography production industry in Durban and the region.

7.2. Digital Film Distribution

The digital era brings possibilities that will impact on accessibility, protection and lower

costs for the distribution of film products. The conversion from analogue to digital cinema

technology means that filmmakers no longer have to shoot on 35mm cameras or convert

High Definition into 35mm to guarantee theatrical release. Post-production costs will also

be lowered because of the inexpensive nature of digital technology.

A single 35mm print costs between R15 000 to R45 000 and the cost multiplies with the

number of prints and screens. The elimination of the 35mm print will, in turn, allow local

distributors and producers to recoup some production costs from theatrical releases and

widen a film’s exhibition platform.

Digital cinema can also be encrypted, stored and played from the exhibitioner’s server to

avoid the possibility of piracy. This eliminates the high storage and transportation costs

that 35mm print requires.

of 60

7.3. Digital Screens by Operator

Source: Cinemark

By the end of December 2006, there were 62 digital screens across the country. Of

these, 60% were operated by Ster-Kinekor, 31% by Nu-Metro, 7% by Cine Centre, while

M@ operated 2%. Most screens are located in Gauteng.

7.4. Number of Cinemas per Province

Source: Cinemark Attendance Report (2011)

Table 9 illustrates that 49% of cinemas are found in Gauteng, 20% in the Western Cape, and

15% in Kwazulu-Natal. Limpopo has the least number of screens, with only 1%.

7.5. The DVD and Video Industry

Nigerian films dominate the informal DVD market, with some evidence of an emergence

of independent filmmakers who exhibit straight to DVD. Research undertaken by the

of 60

NFVF indicates that in Gauteng, Johannesburg’s city centre is a thriving platform for a

variety of informal distributors and exhibitors. They range from street vendors who rent

out copies of Nollywood titles and pirated local and international titles on DVD, to outlets

that have viewing, rental and duplication facilities. These mostly screen Nollywood titles

and popular Hollywood blockbusters.

There is also a thriving informal exhibition culture, where old cinemas show two films for

the price of one during the week, and cheaper Sunday specials, where customers pay as

little as R5 for one movie. These outlets are frequented mostly over the weekends.

7.6. DVD Rental Outlets

Source: NFVF database

The NFVF database reflects a total of 474 DVD rental outlets. Most DVD rental businesses

are registered as close corporations while some are franchises, mostly dominated by Mr

Video with 42 outlets, followed by Vee’s Video with 30 outlets. There are a number of retail

outlets that distribute DVDs, who were not able to supply information at the time of writing

this report.

of 60

7.7. Provincial Spread of DVD Rental Outlets

Source: NFVF database

7.8. South African Programming on Television

The South African broadcasting system is divided into three tiers – public, commercial

and community broadcasting – and is regulated by ICASA. Chapter 9 of the ECA applies

to broadcasting services licensees and provides for programming obligations that include

language, local content quotas, programming requirements etc. The current

broadcasting landscape has the following players: Multichoice (Dstv), SABC and etv.

The South African broadcasting landscape is occupied by diverse broadcasting services.

This section highlights some of these services and their role in the development of the

local independent production sector.

7.8.1. Public Broadcasting Services

The SABC is the only public broadcaster in South Africa. Since its establishment, it

has undergone a number of changes ranging from its objectives to its role within

society.

In 2003 ICASA published the Position Paper on Regional Television Broadcasting

Services. The aim of the paper was to introduce Regional Television Broadcasting

Services as determined by Section 2 of the Independent Broadcasting Authority Act

(IBA) no 153 of 1993. 59 The SABC has been granted two regional licensees under

its public service division.

of 60

The SABC published a policy on local content guided by various legislations,

including the ICASA Act, Broadcasting Act and the relevant ICASA regulations. 60

The policy is underpinned by values such as developing and protecting national

culture and character, and the need to support the production of local content by

South Africans, particularly historically disadvantage citizens. The SABC is also

bound by Local Content Quotas prescribed by ICASA; these quotas prescribe the

percentage of air-time to be allocated to local content and the type of genres to be

screened during that time.

7.8.2. e-TV

E-SAT is 100% owned by SABIDO Investments, whose main operating investment is

etv, South Africa’s first private, free-to-air channel. No details were available about

their monthly subscription or content.

7.8.3. DStv (Multichoice)

MultiChoice Africa is a wholly owned subsidiary of MIH. It provides television

entertainment through its Dstv, Dstv Indian and Dstv Portuguesa bouquets, to over

1 311 531 subscribers in South Africa. MultiChoice has terrestrial analogue and

digital, direct-to-home, satellite television platforms. Via satellite, the company

imports channels (for the most part from Britain and the US) and packages them

along with local channels originating from the countries in which it operates. The

announcement of the new satellite pay-TV licenses signals the end of MultiChoice’s

long monopoly of the market.

7.8.4. Community Broadcasting Services

Previously, only Trinity Broadcasting Network operated a community television

broadcasting service. Although ICASA has granted the public broadcaster a regional

television broadcasting service (a licence to operate SABC 4 and SABC 5), ICASA

will only issue the licensees to the SABC once funds have been secured to operate

the new services.

of 60

One temporary community television broadcasting service licence has been awarded

to Soweto TV, a volunteer community television initiative based in Soweto. Soweto

Community TV is an interactive “talk radio on television” concept, where both

presenters and producers of all shows engage with Soweto viewers about issues

relevant to Sowetans.

The programme line-up includes gospel music, spiritual talk, sports, entertainment,

women’s talk, Soweto Today (current affairs around Soweto); a Youth interactive

show; and live news feeds every hour on the hour from The Sowetan newspaper.

The Cape Town Community Television Collective, at the time of writing, was in the

process of applying for a license from ICASA.

7.9. Television Audience Share

Source: AMPS

In general, all channels increased their reach over the 2004 to 2006 period. SABC 1

has the major audience share (76.1%), followed by SABC 2 (63.6%) and etv (62.5%).

SABC 3 (49.5%) is included in the top four channels vying for television audience. M-

Net and Dstv have lower audience shares (12.0% and 7.5% respectively).

of 60

7.10. Digital Migration

The Department of Communications (DOC) has developed a digital migration strategy

that aims to introduce a policy framework for the transition of broadcasting systems, from

analogue to digital. The Digital Migration Working Group (DMWG), established in 2005

by the Minister of Communications, delivered its report of recommendations to the

Minister in November 2006. The DOC announced that ‘digital switch-on’ would come into

effect from 1 November 2008. However, as of 2015, the final date has still not been

communicated. It was announced that there will be a three-year period of dual

illumination. Analogue frequencies will be discontinued three years from the initial launch

of digital broadcasting.

8. Economic Contribution

Film is generally viewed purely from an entertainment perspective, with a disregard of its

economic value and contribution. This view is challenged by the advent of the information

age and the accompanying notion of the information economy. The film industry in South

Africa has been identified through ASGISA as a sector with excellent potential for growth,

contributing to the economy and creating jobs. The film industry by its very nature creates a

commodity that has enormous export value.

The film industry is not classified as a sector in its own right in the national accounts, which

makes it difficult to isolate film and television related activities. It falls within three categories

in the SIC – under community, personal and social services (major division 9), hospitality,

catering and accommodation (major division 6), and transport, storage and communications

(major division 7). Relevant economic data is highly aggregated and, therefore, cannot be

used in assessing the economic importance of the film and television industry.

The result is that it is difficult to quantify accurately the economic contribution of the film

industry throughout the value chain to the gross domestic product (GDP) of the South

African economy.

The South African film and television industry has come a long way from the conservative

and propaganda tool that it was engineered to be by our early government. Today, South

Africa has a growing film industry that is increasingly competitive internationally. Local and

of 60

foreign filmmakers are taking advantage of the country’s diverse cultures, unique location,

low production costs and favourable exchange rates. The constitutional regime also provides

a dynamic environment where ideas, views and diversity is encouraged and tolerated.

The government has also developed a number of policies that recognise the economic

potential of the cultural industry, and specifically film, as a potential growth area capable of

creating employment and enterprise development. However, the film industry remains

underfunded despite a number of government agencies such as the NFVF who has been

created to spearhead the growth and development of the industry.

The Department of Communications has developed a digital migration strategy that aims to

introduce a policy framework for the transition of broadcasting systems from analogue to

digital.

Content creation will be vital in this environment and present enormous opportunities for the

independent production sector.

South Africa has also entered into a number of co-production treaties aimed at the

development of cultural, skills and economic exchanges. Currently, four treaties have been

signed. While these arrangements are cumbersome from an administrative point of view,

they do provide for better opportunities to enter into other markets and to raise finance.

However, the ability to secure finance is vital to creative control, and South African

producers are still lacking in this area as most projects are originated by foreign co-

producers.

The distribution and exhibition landscape is still dominated by foreign products. Local films

struggle to capture the local audience, making it difficult for the majority of South African

films to enjoy box office success or recoup production costs from exhibition. While there are

a number of reasons that can be attributed to this, it is vital to ensure that filmmakers tell

stories that are universal; stories that will find audiences both locally and in foreign

territories. While it has been proved with television programmes that ‘local is lekker’, the

opposite seems true with cinema.

of 60

8.1. Target Market Segment Strategy

The projects target market will be captured through special projects, competitions and

close collaborations with local community, church, political and traditional leaders.

KAS’s manager will work with the Department of Social Development and Justice to

incorporate youths engaged in court diversion programmes to become active

participants.

Furthermore, the rates for hiring the studios music, film and television equipment and

facilities will be kept at a minimum to broaden access to youth from poor backgrounds.

Many artists cannot afford to travel to and pay for professional music, film and television

production facilities in cities like Durban and Johannesburg.

There are numerous informal music recording studios operated by entrepreneurs in the

Kokstad’s CBD and the townships. The challenge is that these studios do not produce

commercial quality products. As a result, many musicians engage in music production

more as a hobby then a serious economic activity.

In video production, Kokstad also has a host independent videographers catering to

private and public events and functions. Film and television productions are non-existent.

The reason for behind this is that most of these videographers possess basic video

equipment that is not well-suited to motion picture productions. To produce broadcast

ready content, much more sophisticated filming and editing equipment is required.

The Khanyiselani Art Studio is meant to tackle these challenges. More than contributing

to the development of the creative arts, the initiative hopes to upgrade the existing

technical production skills base as part of positioning Kokstad as a leading entertainment

production and tourism destination.

9. Strategy and Implementation Summary

9.1. Pricing Strategy

KAS will offer the use of its studio at developmental prices that will be determined by the

board in consultation with management from time to time. The goal is not to generate

high rates of return on the capital invested in the studio, or accompanying equipment, but

of 60

rather to produce mass-market entertainment content that can be syndicated to

commercial radio stations, broadcasters and international film and television distributors.

9.2. Sales Strategy

The studio’s marketing and advertising policy will be set at the executive level.

Khanyiselani Art Studio has a very unique structure in that it features three different,

albeit complimentary, units all operating under studio that is headed by a common,

centralised, management team. Therefore the studio will benefit from this dynamic

relationship through the development of synergetic opportunities to maximise the positive

economic benefits and materially improve the conditions of youths active in the creative

arts industry.

KAS will focus market its services to independent artists, schools, and out-of-school and

unemployed youths. In addition, the managers will promote the creative arts as an art

form, encouraging youths confronted by challenges brought on by social ills to find

creative ways of expressing themselves and dealing with life’s challenges.

The studio will also promote the studio in the Harry Gwala district. The goal is to

leverage the unique skills and talents of locals as well as of the people of Harry Gwala to

create compelling stories that will captivate audiences the world over.

10. Management Summary

10.1. Recruitment Strategy

Recruitment of management at the executive level will be done by the Khanyiselani

board, and will only commence once project funding has been secured and a detailed

project implementation plan has been adopted by the board.

Currently, all energies and resources are focused on preparing a business plan to be

submitted to government departments and agencies to apply for financial and grant

assistance to establish Khanyiselani Art Studios. However, it is envisaged that there will

be a broad consultative process in the recruitment phase. Priority will be given to youths

residing within the Harry Gwala region. This is in keeping with Khanyiselani’ commitment

of 60

to build a “Regional Production Studio” which is representative of the community it

serves.

10.2. Financial Management

There can be no success without the continued financial support of our listeners,

advertisers, media and social partners. At Khanyiselani Art Studio, and realising the

intrinsic link between the studio and the community, the board has taken a holistic

approach to financial management issues. In such an environment, community issues will

inevitably find expression in the content produced by local artists. What this means is that

the community are not only stakeholders, but also partners in the studio.

As part of this realisation, KAS will commit itself to disclosure requirements and report as

much information about the studio as the board deems appropriate to ensure

transparency and provide assurance to project funders, project partners and ordinary

members of the community that the studio in a run in a socially responsible manner.

In addition, the studio is committed to the maintenance of proper filing and archiving

systems, which will ensure efficient access to such documents for reporting in the

ordinary course of its business, and in line with procedures set out by the board of

Khanyiselani Resource Centre.

11. Project Organisational Structure

The vision of establishing a music, film and television production studio in the township of

Bhongweni is deliberate strategy to cluster the physical, equipment and human capital

together. The logic behind this model is that creative artists and SMEs should be able to

easily access each other. It is hoped that clustering the creative arts movement onto one

location will yield efficiency and spur the rapid mobilisation of artists, technicians and youth

graduates with a passion for music, film and television to adopt this project as their own and

lead it.

11.1. Television

The inclusion of television production was seen as an important complement to the

music recording studio. The Khanyiselani studios’ board requested the inclusion of

of 60

television production in the art studio so that the people of Kokstad in general, and the

communities through Harry Gwala in particular, can be able to tell the unique stories of

our people through the television.

Television is the most influential medium amongst the youths in all countries. The

Khanyiselani board wanted to experiment with this medium in Kokstad to see if it could

inspire youths to look beyond their current challenges circumstances and dream of a

better life for themselves.

The final television genres and projects will be approved by studio managers and sent

through to the board for their consideration. The plan calls for the production of music,

variety, talk show, educational, drama, sport and gospels television shows that will have

a positive impact on the moral fabric of all of South Africa.

Furthermore, television is critical in promoting the musical talent that will be recording

music. Many entertainment careers have been launched by combing the reach of

recorded music and television to build up a market for the artists ‘recorded music. Both

of these are self-reinforcing.

Television will also enable regional customs sustained through adaptation to drama

series for syndication with any of the major broadcasting companies in South Africa and

beyond.

It will be the responsibility of Khanyiselani Studios to procure distributors for all television

projects who will be mandated to secure syndication of Khanyiselani’s television

production library.

Finally, the television production crew will benefit from the music recording studio in post-

editing for activities such as dubbing, sound effects and special effects. This is another

key variable that was considered by the board of Khanyiselani when they requested the

inclusion of television as part of the studio project.

of 60

11.2. Digital Distribution

The growth of digital media production and distribution, combined with the broader

broadband internet access, provides Khanyiselani with the option of considering

opportunities within community television stations in the future.

Government has also undertaken various initiatives and programmes to ensure that

broadcasting and other media opportunities are opened to up to previously

disadvantaged communities. Moreover, and given that the fact that the production studio

will be situated in a predominantly rural area, Khanyiselani Studios could potentially be a

beneficiary of such reforms and receive financial and institutional support to conduct

television and film education and skills development programmes for youths with in

television and film.

Although Kokstad might be situated in predominately rural areas, this has in no way

inhibited our capacity to dream of a progressive future for the youth of Kokstad.

11.3. Khanyiselani Art Studio’s Integrated Services Model

•Studio Production

•Studio Musicians

•Mastering

• Copyright Issues

•Mechanical Licensing

Music Recording

•Original Programming

•Third-party filming

•Synidation of film & Television projects

•Corporate vidoes

•Advertisements

Film & Television

of 60

11.4. Value-Chain Enterprise Development Opportunities

Enterprise Development Opportunities within local Film and Television Market

Source: NFVF

Secondary Business Activities

Source: NFVF

The unique structure of the studio, combined with the advantage of working with a

diverse group of creative artists, means the initiative will also be able to develop media

entrepreneurs in the areas of:

11.2.1 Advertising Agencies

of 60

Over the past ten years, the Independent Communications Authority of South Africa

(ICASA) has issued many community radio station licenses. This has led to an

increase in demand for professionally produced radio commercials from businesses,

particularly small businesses, as well as from radio stations who require

professionally produced ads to flight on their stations to generate revenue for

themselves.

Khanyiselani Studios will encourage unemployed marketing and media studies

graduate to take up the opportunities created within this space. Kokstad is

surrounded by two community radio stations – Ugu and Alfred Nzo radio stations.

Furthermore, and as the youths gain confidence, the graduates could assemble

themselves into teams to start registering advertising agencies that conceptualises,

produces and syndicates advertising campaigns for major consumer goods and

services companies throughout South Africa looking to tap local knowledge to grow

their business in the Harry Gwala district.

11.2.2 Television Commercials

South Africa is currently undergoing an analogue to digital transmission of television.

This migration is expected to open up the airwaves for additional spectrum sales to

facilitate the entry of additional terrestrial and pay television provides in South Africa.

An opportunity exists for youths with television production skills to enter the

infomercial, corporate video and digital media broadcasting markets. Over the past

few years, South Africans have embraced the digital revolution, witnessed evidenced

by the rapid expansion of smartphone devices and reduced data connection charges

across all the major mobile network providers.

Khanyiselani Studios, as a television and film studio, will be well placed to encourage

youths to pursue opportunities within this space.

11.2.3 Events Management

This enterprise development opportunity will naturally flow from event promoters

‘interaction with the diverse music recording artists who use Khanyiselani’s music

of 60

recording studio. Khanyiselani’s management will take an active interest in ensuring

that recording artists are represented by reputable and experienced event promoters.

The concert business, when planned intelligently, can have secondary local

economic development within the entertainment tourism sub-sector. Furthermore,

selected Khanyiselani recording artists will be promoted as far as Durban,

Johannesburg and Cape Town so they can expand the reach of their talents.

Emerging concert promoters will be also provided with support by Khanyiselani

Studios.

11.2.4 Catering Services

The television and film industry depends to a great degree on unique locations

almost as much as the unique talents of the actors, production crews and directors.

Opportunities will be created for youth-owned catering enterprises to service

production crews, actors and support personnel when they film on-location and

during long-shooting days.

11.2.5 Digital Marketing

Recording artists, television and film producers rely on creative graphic designers to

produce artwork for the music, television and film projects. The opportunity exists for

graphic designers to become long term supplies to musicians, production companies,

advertising agencies, small businesses in Kokstad and beyond for the talented

graphic designers.

In addition, many small businesses operating outside the creative industries require

the services of graphic designers for corporate artwork, logos, marketing materials

and product/brand promotion.

Khanyiselani managers will actively market the services of graphic designers on

Khanyiselani’s database as well as encourage unemployed youths to undergo

apprenticeship with the more experienced graphic designers.

11.2.6 Beauty Services

of 60

Mark-up artists ‘and hairstylists are a pivotal part of any television or film production

crew. The television and film industry has great demand for beauty services that will

stimulate further enterprise development opportunities for unemployed and under-

employed youths to pursue.

Ordinarily, individual productions or actors have their own make-up and hair stylists,

which equates to more individual business opportunities for beauty technicians.

11.2.7 Fashion Designers

Costume designers, or fashion designers, possess a unique set of skills that are

critical to the delivery of realistic television film projects. Beyond designing clothes to

be worn by actors in productions, costume designers are often the chief architects of

sets through their detailed portrayal of eras since passed. The gifted costume

designers can become an integral of any television or film production through the

emotions they evoke with their masterfully planned garments.

12. Management Team

Management Team

Manager

Assistant Manager

Head of Creative

Financial Administrator’

Head of Sales

Production Supervisor

Special Project Coordinator

12.1. Key Job Descriptions

12.1.1. Manager

Responsible for Khanyiselani Studio’s day-to-day operating activities.

Function as a goodwill Ambassador for the station, carry out the vision. Act as

the liaison between all staff – music recording, television and film production

crews – to ensure they conduct business in line with Khanyiselani’s board

directives.

of 60

Motivate all staff members so that they attain their desired goals.

Interact with local political, religious, community and youth leaders to

communicate the opportunities provided by the studio and what stakeholders

can do to take advantage of these opportunities.

Manage the creation and execution of the annual operating plan and budget.

Supervise the implementation of the budget and exercise the proper restraint

when necessary.

Build relationships with regional, provincial and national industry leaders to

draw attention and sustainable revenues to the studio.

Insure studio compliance with all governmental regulatory agencies such as

SAMBRO, RISA, Employment Equity Act, Skills Development Act as well as

any commitments with professional association bodies.

Demand that the content produced by the studio remains competitive and

relevant to challenges faced by the youth of Kokstad and the Harry Gwala

district.

Keep all short and long term goals on target.

12.1.2. Assistant Manager

Reviews and analyses all financial reports.

Directs the studio with respect to meeting budgetary and financial goals.

Implements organisation’s business strategies to grow revenue and

acceptance of its creative content across music, television and film.

Develop, establish, and direct the execution of operating policies to support

overall organisational objectives.

Oversee business policies and accounting practices.

Support and advise the Manager in the decision making process.

Oversee reporting and monitoring of organisational performance metrics.

Ensures that relevant financial data is presented to the Manager and the

production team.

Direct short-term and long-range planning and attendant budgets to reach

these strategic goals.

Lead and support organisational budgeting process.

Review all organisational legal agreements.

Interact will all suppliers, vendors etc. relative to legal matters.

Work to continually improve the studio’s infrastructure and overall efficiency.

Seek ways to increase the studio’s revenues through expanding markets for

recorded music, syndicated television and film projects.

of 60

12.1.3. Head of Creative

Develop and consult with management team on designing Khanyiselani

Studio’s financing structure and strategic investment planning.

Participate in implementation of investment plans for the studio particularly

with regard to grant and commercial sources of financing.

Establish and implement short and long term departmental market

development goals for the organisation.

Find and discuss with management team opportunities of expansion and

future organisational growth.

Bring global best practice points of view and dimension in business and/or

operational plans, projects, programs and systems into the studio.

Supervise and negotiate national carriage and licensing agreements.

Ensure liaison with regional and national licensees and partner suppliers’.

12.1.4. Financial Administrator

Responsible for all financial and fiscal management aspects of the studio.

Provide leadership and coordination of the administrative, business planning,

accounting and budgeting efforts of the organisation.

Ensure compliance with relevant compliance reporting requirements across

the organisation’s music recording, television and film projects.

Establish and maintain oversight and internal safeguards of finance,

accounting, billing and auditing procedures.

Coordinate the preparation of all financial statements, financial reports, and

analysis and information reports.

Interact with management team in a consulting fashion to keep production

crews within the constraints of their respective budgets.

Develop and direct the implementation of strategic business and/or

operational plans, projects, programs and systems.

Analyse cash flow, cost controls and expenses to keep overall organisational

operating efficiently.

Establish and implement short and long term financial goals for the studio.

Represent the studio with outside vendors, suppliers and the general public

as it relates to financial matters.

Recruit, train, supervise and evaluate subordinate members of the financial

staff.

Prepare all tax reporting documents across all productions.

of 60

Supervise investment and raising funds for the studio across its music

recording, television and film units.

Find and discuss with management team opportunities, expansion and future

organisational growth.

12.1.5. Head of Sales

Establish yearly budgetary goals and devise a plan to achieve them.

Develop relationships with industry organisations such as the South African

Advertising Research Foundation to stay in the forefront as an industry

leader.

Assist in the preparation and execution of all sales collateral materials.

Establish relationships with music publishers, commercial and community

radio station owners, and satellite and pay television providers with the view

to gaining favourable carriage terms for all of Khanyiselani Productions

Studio’s produced content.

Interact with the traffic departments across radio and television departments

so that all commercials are prioritised properly and that advertising clients are

offered packaged deals – with discounts being offered to clients who utilise

our creative content to advertise across on radio and television platforms.

Work out contracts with qualitative and quantitative rating services such as

the South African Advertising Research Foundation, so that the studio and

artists are armed with the necessary knowledge to adequately sell the

entertainment content they produce across multiple channels and benefit from

Khanyiselani’s unique multi-medium operational model.

12.1.6. Production Supervisor

Manage day-to-day internal productions.

Assign and supervise work on all internal productions from concept to post

production.

Schedule all production work, editing and develop a time line and budget for

each.

Work with the Head of Programming to develop on-air productions and

promotions for the studio.

Oversee scheduled workload to see that time lines are being met.

Handle editing of all syndicated and/or purchased programs to see that tapes

are re-formatted to meet the studio’s needs.

Meet deadlines for all projects responsible for.

Secure supplies such as equipment, tapes studios etc.

of 60

Develop new programming ideas.

Work with subordinates in getting jobs scheduled and completed in a timely

fashion.

Supervise movement of programming from studios to uplink facility.

Maintain a tape library (inventory of all programs).

Maintain a spot library (inventory of all commercials).

Write, produce and direct (or assist in doing) all in-house productions.

12.1.7. Special Projects Coordinator

Book guests & talent for all in-house programming.

Coordinate Production and Post-Production Schedules.

Prepare all Program run-down Sheets, Scripts & Teleprompter Copy.

Serve as Floor Director on in-house productions.

Secure all Release Forms.

Coordinate all production crews.

Develop and maintain music recording, television and film project log sheets.

Manage use of all studio equipment.

Make necessary arrangements for all productions with location personal;

coordinate with producers.

12.2. Personnel Plan

KAS’s management, working with government agencies and various departments will

explore the following education and training opportunities:

Learnerships

Internship

Training of trainers

Short Courses

The initiative hopes to inspire youths to take up the education and skills development

programmes made available by the government and the various agencies. It is only

through increasing the capacity of local artists, technicians, designers and managers that

the local industry will grow and be sustainable over the long term.

of 60

12.3. KAS’s Technology and Staff Plan

The studio is committed to make maximum use of new media and technology in ensuring

that community members have access to information about KAS’s business, operations and

career development opportunities within the media and entertainment industry.

The studio intends developing an integrated approach to skills development through

engaging youth residing within the Harry Gwala region to pursue career opportunities in

creative industries sectors of the economy. This will be accomplished through engaging the

youth on all online platforms and other forms of online media.

Moreover, management is committed to developing a comprehensive training strategy and

implementing a plan that will see the creation of new skills within residents of Harry Gwala

as the Khanyiselani transitions from being an integrated entertainment studio, to building its

capacity to be an entertainment industry skills and enterprise development incubator.

This commitment should be seen in context of the high number of low-level skills with the

Southern KwaZulu-Natal region. Khanyiselani will endeavor to ensure that bursary and other

education, training and skill development opportunities are facilitated through Khanyiselani

Studio for the benefit of the many unemployed and out of school youths in Kokstad.

Khanyiselani recognises importance of developing the education and skills levels of creative

artists in order that Kokstad develops into a vibrant entertainment production and tourism

destination within the Southern KwaZulu-Natal region.

12.4. Skills /Roles Targeted for Development

12.4.1.1. Producers

Work with large production budgets

Possessing knowledge of regional markets and working on co-production deals

Possessing good distribution and sales skills

Ability to access and manage funds

Developing good entertainment legal background/training

Having good project management skills

Specialists in drama, feature film, dubbing and new media

12.4.1.2. Screenwriters

of 60

Creative breath

Good writing skills that are on par with international standards

Writing for broader audiences

Position of knowledge of different genres

Having strong creative ideas

Specialists in indigenous languages

12.4.1.3. Cinematographers

Good creative lightning skills

Possession of good colouring and framing skills

Unique storytelling technique

Ability to shoot on both film and digital cameras

12.4.1.4. HOD’s

Ability to work with large budget feature films

Good project management skills

High creative and technical abilities

12.4.1.5. Editors

Specialising in TV drama, documentaries and feature films.

Good creativity (storytelling ability).

Good technical skills.

13. Skills Development Initiatives

13.1. Film Education and Training in South Africa

Accordingly, section 29(1) (b) of the South African Constitution Act 108 of 1996 provides

for the right to further education, which the state, through reasonable measures, must

make progressively available and accessible.

13.2. The South African Qualifications Authority (SAQA)

SAQA was established by the South African Qualifications Authority Act No. 58 of 1995

and was appointed by the Ministers of Education and Labour. The Authority’s mandate is

threefold; to create a national framework to identify and measure learning achievements;

develop the quality of education provision in South Africa, and facilitate the redress of

past, unfair discriminations in the context of education.

of 60

13.3. Sector Education Training Authorities

Section 9(1) of the Skills Development Act No 97 of 1998 makes provision for Sector

Education and Training Authorities (SETAs). The film and electronic media sector is

supported by the Media, Advertising, Printing, Publishing and Packaging (MAPPP)

SETA. MAPPP SETA offers learnerships in audio-visual production from NQF 4 to NQF

7 levels.

SETAs are required to register as ETQAs and, in so doing, take on the associated

responsibilities of providing support for, and assessing, training provision. With specific

reference to skills development, a SETA is also required to develop a Sector Skills Plan

(SSP) within the framework of the National Skills Development Strategy (NSDS) .

Khanyiselani Art Studios’ skills development strategy aims to:

To prioritise and communicate critical skills, for sustainable growth, development

and equity;

To promote and accelerate quality training in the workplace; and

To promote employability and sustainable livelihoods through skills development.

Section 10(1) (b) (ii) of the Skills Development Act introduced the Workplace Skills Plans

(WSP) that describe employers’ plans for the training and development of employees in

the forthcoming year. This is based on the analysis of business requirements and the

skills needs of staff.

13.4. On-the-Job Training

In order for KAS to possess sustainable skills development programmes, management

and the board must develop a clear skills development plan. Once the studio is well-

established and has fairly high production volumes, the need to develop skills will be

critical. As a consequence, the studio needs to take steps very early on to ensure that

funds are secured to train new entrants or upskill existing practitioners.

Skills development within Kokstad’s creative industries will be dictated by skills

deficiencies that have had a negative impact on production capacity and business

growth. Beneficiaries of KAS’s enterprise development programmes will further be

of 60

encouraged to train practitioners according to their required level so that they can

maximise their own production volumes and quality.

On-the-job training varies from informal to structured training formats. Assistantship,

which involves a lower-skilled practitioner working with a highly skilled practitioner who is

able to transfer skills during production, is considered most favourable because

experience in the industry is seen as more relevant than formal training. The assistant is

able to learn new skills while gaining experience and, sometimes, earning an income.

The assistant is gradually skilled up to a level where he or she is able to handle work

independently. In a stable environment, the assistant is able to move up the rungs,

getting higher positions and rates.

However, this can be difficult when low budgets do not allow for the employment of

assistants and companies cannot afford to pay practitioners anything outside the

production budget.

Through the Kokstad Film Commission, production companies will be encouraged to

acquire new graduates who have enough technical skills to be able to perform jobs on

productions. These graduates, eager to acquire industry experience, are usually paid

entry-level rates. This works favourably for new entrants who are able to gain industry

experience and then seek better employment with higher pay.

13.5. Mentorship

Mentorships will be structured to ensure that highly skilled practitioners transfer skills to

lower-skilled practitioners. Mentorships will not necessarily be structured and might be as

casual as having new entrants job shadowing crews, producers and technicians around

the production office or set, and contributing to productions.

Mentors have to be truly willing to transfer skills, as opposed to being forced to do so.

This is because it is very difficult mentoring new entrants who did not have the same

“background” as experienced practitioners.

13.6. Learnerships

of 60

Section 17 (1) of the Skills Development Act defines a learnership agreement as an

agreement entered into between a learner, an employer or a group of employers and a

training provider accredited by SAQA or a group of such training providers for a specified

period. A learnership entails three components. Firstly, the learner is placed within an

employment environment where he or she is employed for a specified period. Secondly,

the employer then provides the learner with the specified practical work experience.

Thirdly, the learner attends a specified education and training course provided by a

training provider. As long as the above conditions are met, learnerships may take place

within formal training-provider settings or at the work place. The following are different

kinds of skills development initiatives that will be investigated by the studio’s

management in pursuit of the vision of positioning Kokstad as a leading entertainment

production and tourism destination.

New entrants into the creative arts will be placed into structured learning environments,

with particular emphasis on on-the-job training. In most instances, learners will be paid a

monthly stipend and supervised by experienced practitioners. Learnerships will further

have a structured curriculum that involves performance assessment throughout the

duration of the programme. Learnerships are mostly funded by the MAPPP SETA that

take place over a period and can vary month-to-month in any given year.

Most Learnerships are geared towards entry-level training that usually entails the

recruitment of aspirant practitioners who have little or no experience in the industry.. The

goal is use Learnerships to ensure sustainable skills transfer and employability.

14. Financial Plan

The growth of Khanyiselani Studios and the realisation of the vision of developing Kokstad

as an integrated creative arts production and tourism destination depends on the

organisation building a strong financial foundation.

Unlike privately owned music, television and film studios, Khanyiselani will not rely on well

capitalised shareholders to sustain the studio. On the contrary, the studio will have to sustain

itself through its own revenue generated in leasing the studio as well as production

of 60

equipment. In addition, all three units will require participants to pay a usage fee so the

equipment and facilities can be maintained.

Managers and production crews will be receive a monthly stipend that will be funded by

usage fees as well as any special projects profits undertake during any given month. The

studio’s remuneration package is structured to incentivise mangers and production crews to

source private events and contracts in addition to their core enterprise development

functions performed at the Khanyiselani Community Centre.

Notwithstanding the above, opportunities exist for NGOs to procure subsidised funding of

salaries from many government programmes and departments, such as DBSA’s The Jobs

Fund, Department of Public Work’s EPWP non-state cultural sector development

programme, Department of Trade and Industry’s film incentive programme and the Industrial

Development Corporations’ Media Special Business Unit.

Unlike purely private media enterprises, Khanyiselani can explore a variety or state and

non-state funding sources that will ensure the long term sustainability of innovative

enterprise development initiative.

The Khanyiselani board is committed to exploring the following funding options:

Advertising and sponsorship

Music shows

Special school and community sports event recording & coverage opportunities

Local business community support

Non-governmental and corporate CSI budgets

Digital broadcast licensing

Content syndication

15. Conclusion

The Khanyiselani Arts Studios Business Plan was commissioned by the Khanyiselani

Resource Centre, based in Bhongweni Township in Kokstad, to identify a project that would:

Develop the youth of Kokstad;

Utilise existing skills, with upgrade potential;

Engage unemployed and out-of-school youths

Promote economic inclusion, particularly the youth, in the formal economy;

of 60

Build social cohesion; and

Identify innovative strategies to tackle social ills.

The Khanyiselani Arts Studios was conceived as an innovative project that would adequately

address the issues covered by the terms of reference established by the board of

Khanyiselani Resource Centre.

The Khanyiselani Studios project is a very unique enterprise development initiative which

requires the full participation and support of the local community for it to be successful.

Beyond entertainment and enterprise development, at the heart of this project is a rare

opportunity for the people of Kokstad to tell their stories from their own perspectives. The

proposed music recording, television and film production studios could be used by the

community to communicate the unique historical development of the town of Kokstad, tell the

stories of all the different cultures and traditions that live side by side in this beautiful part of

the Drakensburg.

Khanyiselani Art Studios will provide the basic physical, intellectual and equipment

infrastructure that will be utilised by creative artists to launch their entrepreneurial

enterprises and produce, promote and distribute their content to audiences all over South

Africa.

------------------------------------------The End------------------------------------------------

16. Appendix 1A

Khanyiselani Art Studio Price Lists

Professional Recording Studio

Recording Studio Room With A Control Room

Full Sound Proof And Noise Reduction

Room Treatment

Six Desktop Pcs

4 X 1 Tb Hard Drive

of 60

4 Gb Ram DDR 3

Intel Core (With 3 Cores) At 3.00 GHz, 3 MB Cache

Dual VGA Graphic Card (2 Gb Memory)

Mouse & Keyboard

External Hard drive (2 Tb)

6x Recording Sound Cards

6x Super Multi DVD Writers

21 Inches LCD/LED Screens X6

Cables & Software

2x 32 Channel Table Desk Mixer Or Studio Mixer With Phantom Power

2x Studio Condensed Microphones With Double Diaphragm

Full Drum kit

Saxophone (Tenor)

Full Rack Cases With Studio Amplifiers And Compressors

2x Studio Keyboards Plus One Midi Keyboard

Acoustic Guitars

Base Guitars With Amps

Lead Guitars

Percussions

Violins & Stringed Instruments

Studio Monitors 3 Pairs

4x Studio Headsets

Chairs And Studio Furniture (Requires Carpenter)

Studio Printers & Copiers

Studio DVD Writers

Security System And Power Protectors

Backup Devices

Microphones And Stands

Cables & Adopters

U-Controllers

of 60

Professional Recording Studio Expense R 635,000

17. Appendix 1B

Film and Television Equipment List Studio

Cameras (Broadcast Quality)

Camera Stands, Rails & Handlers

Video Lights All Sizes And Makes.

Camera/Lights/Mic Cables

Boom Mics & Spy Mics

Reflectors

Sound Devices

Vision Mixers

Backgrounds and Green screen

Powerful Mac Pcs & Laptops for Editing

Software

Headsets and Mics for Crew

Wireless Signal Detectors

Photo Cameras

Video Studio (Room)

Room Treatment

Camera Screens & Projectors & Visual Effects Controllers

Wireless Mics

External Hard drives and Back-Up Discs or SD Cards

Video Converting Devices and Software

Professional Fees

Film & Television Equipment Expense R 599,510

Total Equipment Expense R 1,235,510

Equipment Cost As % of Project Cost 65.56%

_________________________________________________________________

Khanyiselani Art Studios

Documents

Transcript of Khanyiselani Art Studios