Product Development training as a tool for empowerment in crafts

188 Pages·2014·2.69 MB·English

Masters Degree by Dissertation
Product Development training as a tool for empowerment in crafts: A
focus on training initiatives in pottery factories in the North West province.

By
ISAAC BONGANI MAHLANGU
Student no:
727856
Submitted in fulfillment of the degree by dissertation
MASTERS DEGREE: ARTS AND CULTURE MANAGEMENT
In the
Department of Humanities
FACULTY OF THE ARTS AND CULTURE MANAGEMENT
UNIVERSITY OF THE WITWATERSRAND

Supervisor: Ms Avril Joffe

AUGUST 2014

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Masters Degree by Dissertation
DECLARATION

I hereby declare that the dissertation submitted for my Masters Degree in Arts and
Culture Management at the University of the Witwatersrand is my own original work,
and has not been submitted before for any other degree or examination in any other
university.

___________________________
Isaac Bongani Mahlangu

_________day of_________, 2014

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Abstract
This dissertation aims to examine how pottery factories in the North West province were
conceived and how relevant their functions are, within the confines of craft product
development training initiatives, as potential contributors to social empowerment, job
creation and economic sustainability today. The dissertation will trace and analyse the
impact of specific training initiatives undertaken to empower potters from one of these
factories. The focus will be on the methods used to transfer product design and craft
manufacturing skills (craftsmanship) as well as evaluating the challenges and success
of these methods in promoting self-reliance and sustaining livelihood economically. The
impact of these methods will be assessed by the beneficiaries‟ ability to integrate
concepts, ideas and action as well as their understanding of the markets and ability to
follow through orders.

The research draws inspiration from the South African National Development Plan:
Vision 2030 (NDP, 2011: 10). The plan envisages that by 2030; “the economy should be
close to full employment; equip people with the skills they need; ensure that ownership
of production is less concentrated and more diverse (where black people and women
own a significant share of productive assets); and be able to grow rapidly, providing the
resources to pay for investment in human and physical capital”.

One of the key sectors anticipated to contribute in achieving the vision of the NDP is the
craft sector as suggested by the Department of Trade and Industries (DTI‟s)
Customised Sector Programme (DTI, 2005). This vision is possible in the craft
community if community development efforts are not rushed towards achieving
immediate results, but rather focus on the long term of investing in and empowering
people with the relevant skills. Writing about applying design to alleviate poverty,
Thomas (2006) suggests that sustainable results can only be achieved in the long term
because short term initiatives are dependent on single individuals from „outside‟
organisations for designs and markets. And therefore this research focuses on pottery
factories established in the year 2010 by Mintek‟s Small Scale Mining Beneficiation
Programme, particularly the Timbita Ceramic Incubator.
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According to the Minister of Arts and Culture, the honourable Mr Paul Mashatile, the
cultural and creative industries have the potential to be an important driver of economic
growth and job creation (Business report, 5 April 2011, 17). Perceiving the creative
sector beyond aesthetic and human development dimensions, and more as a sector
with the potential to contribute to economic growth and job creation stimulated the
assumption of more responsibility for stakeholders and government to invest in both
financial and skills development. It is important then, to analyse whether the training
methods implemented are efficient and effective in empowering these communities and
whether or not they yield sustainable results.

It is, therefore, anticipated that this study will contribute toward, at least within the South
African context, the limited literature in craft development as an economic industry from
the context of crafts product development and craftsmanship skills transfer.
Applied research looking at practical cases will be combined with various literature
engagements, and supported by semi-structured in-depth interviews used as tools to
obtain information for this research.

Key words: Craftsmanship, Designer-ship, Economic Empowerment, Empowerment,
Job creation, Pottery, Poverty, Product Development, Social Empowerment,
Sustainable Development, Training and Workmanship.

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ACKNOWLEDGENMENT

I would like to express heartfelt gratitude and appreciation to everybody who contributed
towards making the process of writing this dissertation possible. The people who have
made the research process possible are: Professor Walter Oltmann who introduced me
to the Arts and Culture Management division at the university. Doctor Cynthia Kros who
showed faith in my work as well as my Supervisor Avril Joffe who has provided solid
guidance, support and wisdom throughout the entire research process, particularly the
relentless encouragement and inspiration she provided. I would also like to extend
appreciation to the business members of Semphete Pottery, Mintek staff, Andrew
Lestrange and all the role players who contributed in the research such as Eugene Hon
from the University of Johannesburg and Vanessa Bower owner of Wordways. I thank
the National Arts Council for their financial contribution to this research.

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DEDICATION

I dedicate this dissertation to my parents to whom I owe all my success and
achievements to. And I thank God for blessing me with such great parents, who have
given me unconditional love, showed great faith in my decisions and have always
supported me. I thank you Mr M. D. Mahlangu and Mrs N. M. Mahlangu for all the
sacrifices you made, the support you have showed and commitment you have instilled
in me.

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LIST OF ACRONYMS AND ABBREVIATIONS

ABET – Adult Basic Education and Training
BEE – Black Economic Empowerment
CATHSSETA – Culture, Arts, Tourism, Hospitality and Sports Sector Education and
Training Authority
CBTE – Community-based tourism enterprises
CCDI – Cape Craft and Design Institute
CIGS – Cultural Industries Growth Strategy
CIS – Co-operatives Incentive Scheme
CSA – Creative South Africa
CSP – Customised Sector Report
DAC – Department of Arts and Culture
DED – Department of Economic Development
DoE - Department of Education
DSAC – Department of Sports, Arts and Culture: North West Province
DPSA – Disabled People of South Africa
DSD – Department of Social Development
DTI – Department of Trade and Industry
EMIA – Export Marketing and investment Assistance
ETQA – Education and Training Qualifications Authority
FET – Further Education and Training
IK – Indigenous Knowledge
IKS – Indigenous Knowledge Systems
IPAP – Industrial Policy Action Plan
ITDG – Intermediate Technology Development Group
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MAPPPSETA – Media, Advertising, Publishing, Printing and Packaging Sector
Education and Training Authority
NAC – National Arts Council of South Africa
NDP – National Development Plan
NGDP – National Gross Domestic Product
NQF – National Qualifications Framework
NWCDI – North West Craft and Design Institute
NWDE – North West Department of Education
OECD – Organisation for Economic Cooperation and Development
OEO – Office of Economic Opportunity
RPL – Recognition of Prior Learning
SADC – Southern African Development Countries
SAQA – South African Qualifications Authority
SACR – Sport, Arts, Culture and Recreation: Gauteng Province
SASIX – South African Social Investment Exchange
SEDA – Small Enterprise Development Agency
SETA – Sector Education and Training Authority
SLIF - Siyavuka Lateral Improvement Foundation
SME – Small Micro Enterprise
SMME – Small, Medium and Micro Enterprise
SSA – Statistics South Africa
SSAS – Sector Specific Assistance Scheme
SSMB – Small Scale Mining and Beneficiation
TWR – Technikon Witwatersrand
UJ – University of Johannesburg
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LIST OF FIGURES

CHAPTER TWO
Figure 1: Hand-building techniques. Slabbing, coiling and pinching.
Figure 2: Wheel-work, the technique of throwing. James Phakela of Semphete pottery
at the Tshwane University of Technology pottery workshop 2011
Figure 3: Slip casting, poring liquid clay into a two piece plaster mould.
Figure 4: Slip cast product transfer. Mintek 2014
Figure 5: Mould making process, NWCDI master crafter pottery training. Zeerust 2012
Figure 6: Hand painted mug, Semphete pottery 2010
Figure 7: Printed mug, Semphete pottery 2014

CHAPTER FIVE
Figure 1: Wood fuelled Raku firing furnace
Figure 2: Slip cast vessel, Semphete pottery 2013
Figure 3: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Pot made by
artist Nic Sithole
Figure 4: NWCDI master crafter skills transfer programme. Leaf inspired sculpture made
by Mpho Gorewang of Arebopeng ceramics Potchefstroom
Figure 5: NWCDI master crafter skills transfer programme. Leaf inspired sculpture made
by Sadi Motheledi of Lekoko pottery in Mafikkeng
Figure 6: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Sculpture
made by artist Margot Rudplph
Figure 7a: Saxon Hotel Restaurant, Johannesburg. Pot made by L‟estrange pottery
Figure 7b: Saxon Hotel, Johannesburg. Pots made by L‟estrange pottery
Figure 8: Outdoor garden vessels. L‟estrange pottery 2012, in Zeerust North West.
Figure 9: Close up details of outdoor garden vessels. L‟estrange pottery 2012.
Figure 10: Decorex Kwa-Zulu Natal 2011, NWCDI stand displaying L‟estrange indoor
pots.
Figure 11: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Museum
Africa, Newtown Johannesburg.
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Figure 12: Slip cast vase made by Semphete pottery.
Figure 13: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Coiled and
thrown pot by artist Cecilia Robinson, awarded the Clover Premier Award for
expression.
Figure 14: Ceramic Southern Africa‟s Ultra-furn Regional exhibition 2012. Ceramic
bowls made by artist and lecturer at the Tshwane University of Technology,
Poorvi Bhana.

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